MERCURY, 1938
New York City, New York | Film Feature
History, Comedy
In 1938, Orson Welles staged a live reading of ‘War of the Worlds’ with the help of a ragtag theater group and cautious CBS Radio executives. He pushed the boundaries of reality, art, and truth. This film explores the long history of art and corporate interests colliding — with disastrous results.
MERCURY, 1938
New York City, New York | Film Feature
History, Comedy
0 Campaigns |
In 1938, Orson Welles staged a live reading of ‘War of the Worlds’ with the help of a ragtag theater group and cautious CBS Radio executives. He pushed the boundaries of reality, art, and truth. This film explores the long history of art and corporate interests colliding — with disastrous results.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Mission Statement:
Mercury, 1938 is seeks to celebrate, examine, & interrogate how art gets made & consumed. The story focues on the fragile line between fiction and reality. It’s about the people history forgets — the workers who made the magic happen — and the moment when storytelling became powerful enough to change how a nation understood truth. In an era of misinformation and media anxiety, Mercury, 1938 reframes a legendary broadcast as a human drama about ambition, fear, and the cost of creating something extraordinary under impossible pressure.
The Story:
Mercury, 1938 tells the story of the night Orson Welles’ War of the Worlds broadcast shook America — but not from the perspective of the listeners. Instead, we stay inside the CBS studio with the artists, technicians, and performers who built the illusion in real time, unaware that their creativity was about to ignite a national panic. The film follows a young, ambitious ensemble fighting exhaustion, censorship, and the pressure of live radio as they try to prove themselves on a night that spirals far beyond their control.
Why Now? Why Us?
This story feels more important than ever. While much of this story is a trial-of-errors comedy, there is always an underlying pressure of corporate control & surveillance that will bubble to the service over the course of the film. This stranger-than-fiction piece of history serves to remind us that the relationship between art & commerce has always been beholden on corporate overlords - and sometimes it takes a ruler breaker to shock people into a new way of life.
We believe we are the ones to tell the story of Welles & the Mercury Theater Company because we are a group of young theater actors ourselves. While many of us come from different walks of life, we found each other on a stage being run by a madman (joking, Anderson!) and it is through this community that we are able to create our own art.
Development & Timeline:
We are proud to say we have already shot 65% of Mercury, 1938! We are currently raising finishing funds for secure our last 2 locations & roll straight ahead to post-production.
We plan to complete post-production by December 2026!
Follow our Instagram account @mercury1938film to stay up-to-date on our progress!
Our Work So Far:
We'd be so thrilled if you checked out our extended trailer!
Budget
We're gearing up to start shooting again in August! This is the stage at which your support becomes crucial. We are thankful to have already secured some funding, but we need to raise an additional $7,000 to fully land the ship!
Your donation of any amount will help us take care of our wonderful crew (pay & food), go towards our 2 crucial, period accurate, locations & the rest goes straight to our editor! We know there are many projects you could choose to invest in so we really appreciate any level of contribution you can commit to. We're committed to using your donation wisely and making every dollar count.
Our budget breakdown for our final week of Mercury, 1938:
Production - $3,000
Labor
Location
Crafty
Production Design
Post-Production - $6,000
Editor
Colorist
Scoring
Festival submissions
We understand that not everyone is able to contribute in a financial capacity and we really appreciate support in other forms as well! The most important thing you can do for us is help us spread the word about our project. Follow our Instagram account @mercury1938film to stay updated on our progress and share this campaign with anyone you know who may be able to help out!
Scroll for a Behind-the-Scenes Look at our Principal Shoot!
BTS Photography: Ryan Cervasio
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Vintage Diner or Bar (shooting location)
Costs $1,000
We have two very important scenes that take place between Welles & Co. in a diner (or bar).
Crew Fees
Costs $3,000
To pay our small but incredibly mighty team!
Post Production!
Costs $3,000
To get us across the finish line! We’ve worked so hard on this film & this money will go to directly to our post team.
Direct link:
Share this update!
About This Team
Cast Bios:
Mallory Wu (Anne Froelick) is Brooklyn native with a ridiculous age range, and an all-around swell person. She has a BFA with Honors in Drama from NYU's Tisch School of the Arts, a certificate in Classic Pastry Arts from the International Culinary Center, and a great head of hair. When not shooting random commercials, works solely for four-legged poopers and all of the major sports franchises. She loves clothes, brownies, and the 1960s. Her recent credits include Lola's Spaghetti, The Politician (Netflix) & Succession (HBO).
Joe Ramondino (Howard Koch) is a New York based actor and writer. He studied at SUNY Purchase and the Lee Strasberg Theater and Film Institute. His theater credits include Buried Child, Dog Sees God, Hand to God, and Twelfth Night, among others.
Joe O’Malley (John Housemann) is a New York–based actor whose work spans theater, film, and television. A graduate of Wagner College’s Theatre and Speech program, Joe has performed with companies including the Alabama Shakespeare Festival, Allenberry Playhouse, and Sundog Theatre Company, with credits ranging from The Tempest and Sherlock Holmes to Clue: The Musical and 1776. On camera, he has held both lead and supporting roles in independent projects, including a supporting role as Richard Zanuck in Save the Ship, directed by Michael Robert Anderson.
Ariel Marcus-Hollenbeck (Eleanor) is the full-time Producing Artistic Director of IlluminArt Productions (http://illuminart.org/), an educational arts company that is rapidly growing. She founded IlluminArt’s Theatre for Young Audience Season, bringing family-friendly theatre to audiences all across Staten Island. Ariel is the Festival Director of Women’s Playwright Collective (http://www.womensplaywrightcollective.com/), which is currently in its eighth season, dedicated to supporting women-identifying playwrights at all stages of their careers. As a trained actor, Ariel has enjoyed collaborating with many creatives to portray some of her favorite characters, including Meredith Parker in the rock musical "BatBoy," Puck in "A Midsummer Night's Dream," and The Witch in "Into the Woods". She holds her Master’s in Performing Arts Management from CUNY Brooklyn. She is endlessly grateful to her family and friends for their unwavering love and support, and for putting up with her constant show tunes, wild ideas, and excessive sushi consumption.
Nick Somodi (Jim Nichols) is a NJ based performer and director, he has spent over a decade working in theatre and this is his first feature film! Some notable stage roles have been Shrek (Shrek The Musical), The Beast (Beauty And The Beast), and Claude Frollo (The Hunchback of Notre Dame). He is incredibly grateful to Mike and Jess for this wonderful opportunity to be apart of this incredible film and to have worked alongside such a talented cast!
Charles Sullivan (Frank Welsh) is delighted to be in front of the camera once more for another of Michael Anderson's always entertaining projects. He spent Easter week in 2017 speaking German to someone who actually spoke German in a farmhouse somewhere in New Jersey in Michael's Master Key, and starred in a two-hander with Michael in Matt Provenzano's dark comedy Buddy Mills, about a cancelled comic contemplating suicide. Following retirement as a lawyer, he founded Ghostlight Players here on Staten Island and will be portraying Ben Franklin in their co-production, with the CSI Center for the Arts, of 1776, the Musical!
This is just SOME of our incredibly talented cast!
One of our favorite things about Mercury, 1938 is that it is a story of a small theater group, made by our favorite local theater actors!
The Mercury, 1938 team is a group of filmmakers who came together because the story lit a spark in all of them — the kind of spark that makes people say “we have to make this.” They work with genuine camaraderie, shared curiosity, and the kind of warmth that makes long shoot days feel like friends building something together.
More About our Team:
Mike Anderson
Anderson is the writer/director, & plays Orson Welles in Mercury, 1938. A well-known theater actor & Staten Island creator with his production company, Purple Cloud Entertainment, Mike brings imagination, humor and emotional clarity to every project he is a part of. His love of character and history gives the film its heartbeat, and his ability to keep the team connected makes the set feel welcoming, collaborative, and full of creative energy.
Jessica Davies
As Co-director to Anderson & a cast member herself, Jess adds emotional depth and creative insight to the project. She and Mike have been close friends for nearly twenty years, and that history brings a unique trust and shorthand to the work. Jess knows his creative instincts better than anyone, and her steady, intuitive presence strengthens performances, guides character moments, and keeps the team grounded.
Fay Emmolo-Johnson
Serving as Producer & Co-Cinematographer, Fay is pure momentum. He’s energetic, encouraging, and always ready to elevate a moment — whether through a bold camera move, a sharp idea, or a burst of enthusiasm that lifts the whole team. Fay’s mix of artistry, leadership, and personality makes him one of the project’s driving forces.
Max Iacovelli
As the co-Director of Photography, Max is a true visual storyteller — expressive, thoughtful, and deeply tuned into the emotional rhythm of each scene. He brings a calm, friendly presence to set, and his ability to translate feeling into imagery gives the film its cinematic warmth and sense of wonder.
Ryan Cervasio
As the Assistant Director, is the team’s anchor of kindness. He’s organized, gentle, and endlessly supportive — the kind of AD who keeps the day running smoothly while making everyone feel cared for. Ryan’s presence brings calm to the busiest moments and warmth to the entire production.
Killian McCole
Our gaffer shapes the film’s lighting with a painter’s eye and a collaborator’s heart. He brings humor, patience, and a steady positivity to every setup, creating an environment where creativity feels easy and the story’s emotional tone shines through.
Surrounding them is a wider group of artists across sound, wardrobe, production design, and support roles — all people who care deeply about storytelling and about each other. They’re the kind of crew who celebrate small wins, share ideas freely, and treat every shoot day like a chance to build something meaningful together.
Mercury, 1938 is a story about imagination, fear, and the moment American broadcasting changed forever. This team is united not just by the film, but by the friendships, curiosity, and creative spark that make the work feel joyful, collaborative, and full of cinematic wonder!
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Mission Statement:
Mercury, 1938 is seeks to celebrate, examine, & interrogate how art gets made & consumed. The story focues on the fragile line between fiction and reality. It’s about the people history forgets — the workers who made the magic happen — and the moment when storytelling became powerful enough to change how a nation understood truth. In an era of misinformation and media anxiety, Mercury, 1938 reframes a legendary broadcast as a human drama about ambition, fear, and the cost of creating something extraordinary under impossible pressure.
The Story:
Mercury, 1938 tells the story of the night Orson Welles’ War of the Worlds broadcast shook America — but not from the perspective of the listeners. Instead, we stay inside the CBS studio with the artists, technicians, and performers who built the illusion in real time, unaware that their creativity was about to ignite a national panic. The film follows a young, ambitious ensemble fighting exhaustion, censorship, and the pressure of live radio as they try to prove themselves on a night that spirals far beyond their control.
Why Now? Why Us?
This story feels more important than ever. While much of this story is a trial-of-errors comedy, there is always an underlying pressure of corporate control & surveillance that will bubble to the service over the course of the film. This stranger-than-fiction piece of history serves to remind us that the relationship between art & commerce has always been beholden on corporate overlords - and sometimes it takes a ruler breaker to shock people into a new way of life.
We believe we are the ones to tell the story of Welles & the Mercury Theater Company because we are a group of young theater actors ourselves. While many of us come from different walks of life, we found each other on a stage being run by a madman (joking, Anderson!) and it is through this community that we are able to create our own art.
Development & Timeline:
We are proud to say we have already shot 65% of Mercury, 1938! We are currently raising finishing funds for secure our last 2 locations & roll straight ahead to post-production.
We plan to complete post-production by December 2026!
Follow our Instagram account @mercury1938film to stay up-to-date on our progress!
Our Work So Far:
We'd be so thrilled if you checked out our extended trailer!
Budget
We're gearing up to start shooting again in August! This is the stage at which your support becomes crucial. We are thankful to have already secured some funding, but we need to raise an additional $7,000 to fully land the ship!
Your donation of any amount will help us take care of our wonderful crew (pay & food), go towards our 2 crucial, period accurate, locations & the rest goes straight to our editor! We know there are many projects you could choose to invest in so we really appreciate any level of contribution you can commit to. We're committed to using your donation wisely and making every dollar count.
Our budget breakdown for our final week of Mercury, 1938:
Production - $3,000
Labor
Location
Crafty
Production Design
Post-Production - $6,000
Editor
Colorist
Scoring
Festival submissions
We understand that not everyone is able to contribute in a financial capacity and we really appreciate support in other forms as well! The most important thing you can do for us is help us spread the word about our project. Follow our Instagram account @mercury1938film to stay updated on our progress and share this campaign with anyone you know who may be able to help out!
Scroll for a Behind-the-Scenes Look at our Principal Shoot!
BTS Photography: Ryan Cervasio
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Vintage Diner or Bar (shooting location)
Costs $1,000
We have two very important scenes that take place between Welles & Co. in a diner (or bar).
Crew Fees
Costs $3,000
To pay our small but incredibly mighty team!
Post Production!
Costs $3,000
To get us across the finish line! We’ve worked so hard on this film & this money will go to directly to our post team.
Direct link:
Share this update!
About This Team
Cast Bios:
Mallory Wu (Anne Froelick) is Brooklyn native with a ridiculous age range, and an all-around swell person. She has a BFA with Honors in Drama from NYU's Tisch School of the Arts, a certificate in Classic Pastry Arts from the International Culinary Center, and a great head of hair. When not shooting random commercials, works solely for four-legged poopers and all of the major sports franchises. She loves clothes, brownies, and the 1960s. Her recent credits include Lola's Spaghetti, The Politician (Netflix) & Succession (HBO).
Joe Ramondino (Howard Koch) is a New York based actor and writer. He studied at SUNY Purchase and the Lee Strasberg Theater and Film Institute. His theater credits include Buried Child, Dog Sees God, Hand to God, and Twelfth Night, among others.
Joe O’Malley (John Housemann) is a New York–based actor whose work spans theater, film, and television. A graduate of Wagner College’s Theatre and Speech program, Joe has performed with companies including the Alabama Shakespeare Festival, Allenberry Playhouse, and Sundog Theatre Company, with credits ranging from The Tempest and Sherlock Holmes to Clue: The Musical and 1776. On camera, he has held both lead and supporting roles in independent projects, including a supporting role as Richard Zanuck in Save the Ship, directed by Michael Robert Anderson.
Ariel Marcus-Hollenbeck (Eleanor) is the full-time Producing Artistic Director of IlluminArt Productions (http://illuminart.org/), an educational arts company that is rapidly growing. She founded IlluminArt’s Theatre for Young Audience Season, bringing family-friendly theatre to audiences all across Staten Island. Ariel is the Festival Director of Women’s Playwright Collective (http://www.womensplaywrightcollective.com/), which is currently in its eighth season, dedicated to supporting women-identifying playwrights at all stages of their careers. As a trained actor, Ariel has enjoyed collaborating with many creatives to portray some of her favorite characters, including Meredith Parker in the rock musical "BatBoy," Puck in "A Midsummer Night's Dream," and The Witch in "Into the Woods". She holds her Master’s in Performing Arts Management from CUNY Brooklyn. She is endlessly grateful to her family and friends for their unwavering love and support, and for putting up with her constant show tunes, wild ideas, and excessive sushi consumption.
Nick Somodi (Jim Nichols) is a NJ based performer and director, he has spent over a decade working in theatre and this is his first feature film! Some notable stage roles have been Shrek (Shrek The Musical), The Beast (Beauty And The Beast), and Claude Frollo (The Hunchback of Notre Dame). He is incredibly grateful to Mike and Jess for this wonderful opportunity to be apart of this incredible film and to have worked alongside such a talented cast!
Charles Sullivan (Frank Welsh) is delighted to be in front of the camera once more for another of Michael Anderson's always entertaining projects. He spent Easter week in 2017 speaking German to someone who actually spoke German in a farmhouse somewhere in New Jersey in Michael's Master Key, and starred in a two-hander with Michael in Matt Provenzano's dark comedy Buddy Mills, about a cancelled comic contemplating suicide. Following retirement as a lawyer, he founded Ghostlight Players here on Staten Island and will be portraying Ben Franklin in their co-production, with the CSI Center for the Arts, of 1776, the Musical!
This is just SOME of our incredibly talented cast!
One of our favorite things about Mercury, 1938 is that it is a story of a small theater group, made by our favorite local theater actors!
The Mercury, 1938 team is a group of filmmakers who came together because the story lit a spark in all of them — the kind of spark that makes people say “we have to make this.” They work with genuine camaraderie, shared curiosity, and the kind of warmth that makes long shoot days feel like friends building something together.
More About our Team:
Mike Anderson
Anderson is the writer/director, & plays Orson Welles in Mercury, 1938. A well-known theater actor & Staten Island creator with his production company, Purple Cloud Entertainment, Mike brings imagination, humor and emotional clarity to every project he is a part of. His love of character and history gives the film its heartbeat, and his ability to keep the team connected makes the set feel welcoming, collaborative, and full of creative energy.
Jessica Davies
As Co-director to Anderson & a cast member herself, Jess adds emotional depth and creative insight to the project. She and Mike have been close friends for nearly twenty years, and that history brings a unique trust and shorthand to the work. Jess knows his creative instincts better than anyone, and her steady, intuitive presence strengthens performances, guides character moments, and keeps the team grounded.
Fay Emmolo-Johnson
Serving as Producer & Co-Cinematographer, Fay is pure momentum. He’s energetic, encouraging, and always ready to elevate a moment — whether through a bold camera move, a sharp idea, or a burst of enthusiasm that lifts the whole team. Fay’s mix of artistry, leadership, and personality makes him one of the project’s driving forces.
Max Iacovelli
As the co-Director of Photography, Max is a true visual storyteller — expressive, thoughtful, and deeply tuned into the emotional rhythm of each scene. He brings a calm, friendly presence to set, and his ability to translate feeling into imagery gives the film its cinematic warmth and sense of wonder.
Ryan Cervasio
As the Assistant Director, is the team’s anchor of kindness. He’s organized, gentle, and endlessly supportive — the kind of AD who keeps the day running smoothly while making everyone feel cared for. Ryan’s presence brings calm to the busiest moments and warmth to the entire production.
Killian McCole
Our gaffer shapes the film’s lighting with a painter’s eye and a collaborator’s heart. He brings humor, patience, and a steady positivity to every setup, creating an environment where creativity feels easy and the story’s emotional tone shines through.
Surrounding them is a wider group of artists across sound, wardrobe, production design, and support roles — all people who care deeply about storytelling and about each other. They’re the kind of crew who celebrate small wins, share ideas freely, and treat every shoot day like a chance to build something meaningful together.
Mercury, 1938 is a story about imagination, fear, and the moment American broadcasting changed forever. This team is united not just by the film, but by the friendships, curiosity, and creative spark that make the work feel joyful, collaborative, and full of cinematic wonder!