In the ever-evolving landscape of film and television, few artists successfully navigate multiple creative disciplines with as much authenticity and passion as Mike Pusateri. A seasoned actor and comedian based in both Los Angeles and Chicago, Pusateri has built a career defined by versatility, dedication, and a deep understanding of storytelling. His latest achievement, the short film Daughter, which he wrote, directed, and starred in, has earned a prestigious selection at the 2025 Hollywood REEL Independent Film Festival. With a background in stand-up comedy, television, and filmmaking, Pusateri brings a unique perspective to every project he undertakes. In this exclusive interview, he shares insights into his creative journey, the challenges and triumphs of independent filmmaking, and what lies ahead in his dynamic career.

From Chicago to LA and back—how have these two cities shaped your artistic voice, both in comedy and film?

I actually find both cities quite similar, apart from the weather of course. Partly because so many of us actors make our way from Chicago to LA. Chicago is the home of improv, Second City, and it’s the best place to learn and hone your comedy chops. Plus, it’s such an authentic city, which gives you a wealth of material to draw from as an actor. LA is the Olympics of TV & Film work and home to the best actors, writers, and directors on the planet. You’ve always got to be at the top of your game to compete in LA. It’s an industry town, and it’s got the best community, which was never more clear to me than during the strikes in 2023. I’m fortunate to split my time in both cities.

Your short film Daughter has been recognized at the Hollywood REEL Independent Film Festival—an incredible achievement! What inspired the story, and what does this film mean to you personally?

Thank you. We couldn’t be more proud of that. The story itself is fictional but it’s inspired by some things that happened in my life. So in that sense, it’s deeply, deeply personal. But although it’s a drama, I think it’s a really funny film. Our aim was to make this a real, authentic relationship between a parent and an adult child. And in this case, it’s the child who is the more mature of the two, which I think many will find relatable. I hope they do in any case.

Acting, comedy, writing, directing—you wear many hats. When you step onto a new project, how do you decide which part of yourself takes the lead?

Honestly, it’s the project itself and my role in it that answers that question. I’m an actor first and foremost, and as an actor, our job is to serve the story as the writer intended, and to execute the director’s vision. As a writer/director, your focus in on every aspect of the film, from the initial spark of an idea to its ultimate release. Standup sort of combines all those things at once right? You write your set, perform it, and direct the way you want to deliver it to an audience. The great part about standup though is you don’t need to be hired by anyone. You can hire yourself and get up on stage when you like. But again, first and foremost I’m an actor, so I’ll always put my Actor Hat on first.

Comedy and drama often live side by side. Do you find that your experience as a comedian influences how you approach storytelling in film, even in more dramatic works like Daughter?

Yes definitely. I’ve always found it fascinating how some of our greatest comedic actors are also incredible dramatic actors. The late Robin Williams comes to mind. And then I look at a show like The Sopranos, obviously an intense drama, but also a very funny show.  Comedy and drama coexist at all times, sometimes even within the same sentence. As a comedian on stage, we’re often searching to find the ridiculousness of everyday life and put a twist on it which hopefully makes the audience laugh. You asked about “Daughter,” specifically. Nothing in that conversation is funny to the two characters having it. It’s serious stuff, but as an audience member watching them, you laugh frequently just because of the authenticity of their relationship and their love for one another. And sometimes they say absurd things without realizing it. Which of course, all of us do. 

Short films require precision—every second counts. What was the biggest creative challenge you faced while making Daughter, and how did you overcome it?

Wow, where to start? The first thing to know is that the total of our cast and crew was three. That’s not a typo. Three people made the entire thing. And none of it would have been possible without the star of our film, the incomparable Allie Leonard, and our sensational editor Matthew Willard. I’ll be forever grateful to them. We shot “Daughter” during the pandemic so none of us were even in the same room together. The entire film is a discussion with a father and daughter that takes place over FaceTime. And that’s literally how we shot it. Allie’s footage was shot using her iPhone and iPad, as was mine, and then Matt somehow edited it all together to make it sing. But that’s it. A cast of two and one additional crew member. No other cameras, no professional sound, nothing else. It was as bare bones as anything could possibly be. So to see our film being recognized is truly remarkable and gratifying. 

The independent film world is built on passion and perseverance. What’s a moment in your career where you faced a major roadblock, and how did you push through?

Well, honestly I’d say I’m facing one right now, I think a lot of us in this business are. There are so many changes in the industry, it’s dizzying. With Covid, the strikes, industry consolidation and contraction, it’s an uncertain time and I think we’re all wondering what it’ll look like on the other side. I feel like we’ve been expecting a bounce back for years now that just hasn’t come.  Specifically for me, no longer going into Casting Director offices in person for TV auditions is a real challenge. I so miss having that collaboration and interaction with Casting professionals, and getting feedback and adjustments in the room. They’re so good at what they do, and it’s something we just don’t get in the era of self-tapes. I hope in person auditions come back someday but I’m realistic enough to know they probably won’t. And that saddens me. But, “This is the business we’ve chosen,” as Hyman Roth put it, so we have no choice but to push through.

If someone unfamiliar with your work were to watch one of your performances—whether in film, on stage, or in comedy—what’s the one piece you’d want them to see first, and why?

That’s an easy one for me. It’s my performance in “Better Things,” just because I adore the show and Pamela Adlon. She’s sensational and was wonderful to work with. It wasn’t a huge role, I was in one episode, but in the episode I actually played a comedian in an acting class. So coincidentally it sort of combined some of the things I do, which was a lot of fun for me. Plus, did I mention how great Pamela Adlon is? That was the most I’ve ever had on set so Pamela, if you’re reading this, thank you. 

Success in independent film isn’t just about awards—it’s about connection. What’s been the most meaningful response you’ve received from an audience member or fellow filmmaker?

I don’t know, but I can tell you I can’t wait to find out! As we’re talking now, in the first week of March, nobody has seen it yet. We’re actually making our world premiere at the Hollywood REEL Independent Film Festival on March 9. So ask me again in a few weeks and I’ll tell you (laughs).

What’s next for you? Any upcoming projects or dream roles you’re hoping to take on in the near future?

As a working class actor, our life is mostly auditioning. That’s just what we do day in and day out. From a writing standpoint, I’ve written a single camera pilot with my writing partner Katie Dzwierzynski. We’re just about finished with the final re-write and then we’ll be ready to pitch it. We think it’s hilarious and it happens to be set in Chicago. So if you know someone who is interested in producing a pilot, send them my way (laughs).