Brice Anthony Heller on Craft, Collaboration, and the Layers of ‘Guacamole Yesterdays’

(Photo by: Chase Anderson, Courtesy of: Smarthouse Creative and Hudson Phillips)

Written by: TiShea Wilson, Managing Editor 

 

Brice Anthony Heller is a dynamic force in independent film. A storyteller with a deep appreciation for nuance, collaboration, and emotional honesty. Since stepping onto the stage at the age of seven in The Little Mermaid, Heller has devoted his life to the performing arts. His journey has taken him from early theatrical roots in Arizona to a steadily growing film and television career that spans both sides of the camera.

 

With credits in projects like You’re Killing Me (2023), Samaritan (2022), Last Seen Alive (2022), and Icon (2021), Heller continues to impress audiences and collaborators alike with his grounded, character-driven work. Not content to remain in front of the camera, he has also written, directed, and produced acclaimed shorts and independent films like Donny’s Going to the Army, Birthday Boy, and Bags, and is currently in development on a new feature he plans to direct and star in himself.

 

Now, in the genre-bending indie drama Guacamole Yesterdays, Heller delivers a subtle but resonant performance as Eric—a character that serves as a poignant counterpoint to the film’s central love story. In our conversation, he opens up about his path into acting, the challenges of playing layered roles, and the cathartic process of turning personal setbacks into artistic momentum.

TiShea Wilson: Hi, Brice! It’s wonderful to get the chance to chat with you! You’ve built such an intriguing career so far. Can you walk us through your journey into acting. Was there a specific moment or influence that made you say, “This is it, this is what I want to do”?

 

Brice Anthony Heller: Thank you for your kind words and interest! I started in the acting world on stage at the age of 7, with my first performance in ‘The Little Mermaid’ as Town Cryer #2. I was a reserved kid who found an outlet that allowed me to express myself through theatre. An outlet that found me at the perfect time in my life when writing, reading, and watching movies were my main sources of self-fulfillment and expression, alongside the struggle of finding myself (a struggle that continues 21 years later): who I was and what I thought of my own self, as opposed to what people told me I was. So in came the theatre and it sounds cliche, but it saved my life. Truly. I decided that year, at the young age of 7, that there was nothing else for me except the performing arts. 

 

TW: For someone unfamiliar with your work, how would you describe your approach to choosing roles? What do you look for in a script or character that makes you say ‘yes’?

 

BAH: The people behind the project are a big factor for me currently in my career. I want to be comfortable enough to fail in front of people. Which feels like such a contradiction because I like roles that initially make me feel uncomfortable. But through prior deep-dive research and the moments leading up to “action,” where I’m just walking around in the character’s literal shoes and clothes, I can reach a level of comfortability to become what I need to be to serve the scene and story. Collaboration is something I look for when discussing a script or character with fellow creators. We are all there for the same reason, to create something that serves the story and that we are proud of. There’s nothing worse than working with someone who isn’t open to a good collaboration. Ultimately, I seek out things that challenge me and interest me and with good people attached that are fun and exciting to work with — like ‘Guacamole Yesterdays!’

 

TW: Let’s talk about Guacamole Yesterdays. The title alone grabs attention! Can you give us a snapshot of what the film is about and what makes it stand out from other projects you’ve worked on?

 

BAH: Yes! Great title. It’s about love and love lost and the grief that comes with it. It’s about big dreams and the price you pay to try and pursue what feels impossible to find: satisfaction in life, career, and love — a balance that seems impossible, and even more so when you are mentally ill.

 

It’s a comedy and a drama and a tragedy and an almost anti romance film (for lack of a better term — no, I won’t elaborate, I need one more watch to really solidify that thought. Not saying the makers are against romance, but I believe the film is interested in more complex things than an average “romance film” and there’s possibly some commentary on that…I need another watch).

 

There’s sci-fi elements. It’s a mixed bag of trail mix; it’s an extensive guacamole recipe. This film has a whole lot of heart, and I’ve seen it about 3 times now, I believe, and every time I see it, I catch little things I didn’t before. That alone makes a film special, that you watch a movie once and then you can revisit it, and it feels like a new film or that you discover other elements to it. That’s pretty cool. I don’t like to compare projects too much but this one feels special for sure. I’m happy to have been included in a small way to this production.

 

TW: You play a central character in this story. Who is he, and what kind of emotional or personal journey does he go through in the film?

 

BAH: I’m not sure I would call him exactly “central,” but I do appreciate the compliment. I do think that Hudson purposely used Eric and Opal to show the dichotomy between these two couples. Hudson is a smart writer, he could’ve easily written two characters that are the total opposite of our leads and represented “Oh, look how wonderful their lives are and how sad our protagonists are.” No, Hudson is interested in more complex things.

 

I believe Eric and Opal do represent this idea of “making it.” They have a baby on the way, they are a seemingly happy married couple, Eric is on tour as an artist — it’s all so happy! Yet, in Hudson’s dialogue you see subtly that the grass isn’t exactly all that green on the other side for Eric and Opal — and I think there’s a level of jealousy and eventual awareness that comes with Franklin later on in the film that’s important to his arc.

 

TW: Every role brings its own set of challenges. What were some of the unique aspects of this character or the filming process that pushed you as an actor?

 

BAH: We shot three scenes for Eric, one not making the cut (no spoilers). I realized the importance of what this role was representing early on at the table read and knew that everything I did needed to serve the story — that the story wasn’t about me, and I needed to push the story along in a nuanced way while also hitting certain vital subtle beats. I sure hope I did just that because a big challenge always is when you’re given the cube steak to work with while the two leads are given the 32oz… At the end of the day it’s still steak and you gotta just figure out how to cut it to make it make sense to the rest of the meal. Make sense?

TW: Was there a particular scene or moment during filming that left a lasting impression on you—either because of its intensity, humor, or unexpected emotional weight?

 

BAH: I had a lot of fun with the scene on the couch. Randy, Sophie, and Charity are all uber-talented artists that were just giving so much, and Hudson and Jordan let us just riff. Randy’s ability to improv was exhilarating, because you never knew what was going to come out of his mouth and he really made you listen and react naturally and be in the moment. Cool cats, the lot of ’em. 

 

TW: This film blends humor, nostalgia, and introspection in such a unique way. What was it like finding the right tone as an actor, especially when juggling those different emotional beats?

 

BAH: That’s a tough question. Luckily we had a great writer and director to guide us in the right direction. Hudson walked by before the first scene I shot and audibly noted that he liked this one element I included in my initial audition. That gave me everything I needed to know to navigate the scene. I can’t speak for everyone else, but the two or three days I was on set, it was clear from Jordan and Hudson the tone we were trying to reach for every scene. 

 

TW: How did you and the director collaborate in shaping your character’s arc? Was there room for improvisation or unexpected discoveries on set?

 

BAH: I discussed the character a bit at the table read with Jordan and Hudson and felt like I had a good grasp on Eric and Opal. Jordan allowed for lots of improv on set, especially from Randy, who was riffing brilliance, and I’ve gotta give hats off to Hudson for allowing his words to be moved or changed entirely at times. I know they had great confidence in their actors. 

 

TW: How did you prepare for this role? Did it require any special research, physical preparation, or emotional work to really get into your character’s mindset?

 

BAH: I spent a month in meditation, I took on a strict only octopus diet, I flew to Italy and learned every instrument I could. Just kidding. I wasn’t sure at first how to approach this role, but then it dawned on me that I know someone that reminds me of Eric and he just so happened to be coming into town two weeks before filming. So, I genuinely studied him and his mannerisms. He was also a (less successful) musician and a bragger like Eric. It was the perfect happening of time and place. I incorporated what I observed from him in the performance. 

 

A week before filming, Charity and I were texting back and forth about the different places we were talking about in Italy and Positano…POSITANO!! (An improvised bit Charity and I came up with before…the mispronunciation of it on my end, not the actual place being improvised. Imagine me just pulling that out of my ass? I had to look up what that place was when I read it in the script.) But yeah, we were sending YouTube links and Google searches back and forth to each other so we’d be on the same page mentally and visually. It’s vital to get a visual of a place you speak about, helps you really imagine it, in my opinion. Grateful for Charity, she really helped me get through that scene and feel comfortable. 

 

TW: We know fans are eager to know—can you share anything about the projects you’re working on next? Are there any films or series you’re particularly excited about?

 

BAH: I’m currently writing a feature that I’ll be directing and starring in, hopefully filming in the coming months. Super excited for that. I was replaced at the last minute (I’m assuming because they cast me, someone young, and wanted someone old whose skin they could manipulate easily) in a feature film with artists that I felt like I could only ever dream of working with. After spending 5 hours in the makeup chair and being sent home, and finding out a month later, the night before I was supposed to film, that I was replaced. My heart broke and I’m still rather numb to it — but I’ve taken that pain and have been working on this feature, and the best part is that unless I replace myself, there will be no one to replace me on this one cause it’s mine. I digress, sorry for that — had to get it out. I’ve worked on a few features and shorts that I’m excited about too. Hopeful for this feature I’m writing to go well and for more bookings down the road. There’s also this other feature I’ve just gotta plug — it’s called ‘Guacamole Yesterdays’ and it’s coming out to watch in theaters and at home very soon. Check it out! 

 

As Brice Anthony Heller continues to carve his path as both a performer and a filmmaker, it’s clear that his work is grounded not only in talent, but in an unwavering commitment to honest storytelling. Whether portraying a quietly complex character like Eric in Guacamole Yesterdays or channeling personal heartache into a screenplay of his own, Heller approaches every project with heart, humility, and a collaborative spirit. With several promising projects on the horizon, including a feature he’ll direct and star in, Heller is a name to watch—and one whose artistic journey is only just beginning.

 

 

 

Lynn Makes

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