Who is Kevin B Ploth?
Kevin B. Ploth — the thunderclap of the Bronx, a colossus forged in the unyielding fires of New York grit, where skyscrapers bow to the unbreakable spirit of the streets. Picture this: a multi-generational titan of the concrete jungle, born and raised in the heart-pounding pulse of the Big Apple, where his parents, the luminous artists Liz and Bruce M. Ploth, didn’t just hand him a paintbrush or a script — they etched the soul of creation into his very bones from boyhood. In a city that devours dreamers, they raised a legend, a man whose lineage isn’t mere bloodline but a sacred tribe of storytellers, performers, and visionaries, passing the torch of artistic rebellion like an eternal flame through generations.
But Kevin? He’s no heir to a throne — he stormed it, sword in one hand, camera in the other. A proud father of three extraordinary souls, he embodies the tribal elder’s vow: to nurture, protect, and inspire a legacy that echoes beyond lifetimes. His hearth isn’t just a home; it’s a fortress of fierce love, where family isn’t a footnote but the thunderous bassline of every epic he crafts. And oh, the service! This isn’t the whisper of duty — it’s the roar of a US Army veteran, a battle-hardened guardian who traded fatigues for film reels, channeling the raw discipline of foxholes into the alchemy of art. Thirty-five years deep in the trenches of entertainment, food, security, and beyond, Kevin’s no mere soldier of the screen; he’s the general commanding an army of indie rebels, proving that true service means arming the next wave of creators with unbreakable resolve.
Larger than life? Kevin B. Ploth is life, amplified to seismic proportions — a bombastic force of nature who’s directed, produced, written, performed, and chef’d his way through a cinematic odyssey that could humble Hollywood’s heavyweights. SAG-AFTRA and Equity badge gleaming like a medal of valor, he’s the maestro behind masterpieces like The GIANT, This Stitching Will Last and Shadow Docket. At the helm of veteran-owned Artimis Entertainment, he doesn’t just make movies — he forges empires, blending fine art with ferocious narratives, even cooking up cookbooks like EAT ME… A Tell-All.
From the chorus of his peers comes a symphony of reverence. Filmmakers hail him as “the stunning force behind The GIANT,” saluting his unyielding leadership. Festival circuits buzz with his name — finalists and wins piling up — while indie warriors proclaim his networking prowess “a must for new filmmakers.” Bold Journey Magazine crowns him the self-reliant sage, while CanvasRebel echoes the chorus: Kevin’s gravitational pull turns solo sparks into supernova collaborations.
In a world of flickering shadows, Kevin B. Ploth is the unrelenting light — a legend who doesn’t chase immortality; he carves it, frame by frame, bite by bite, service by seismic service.
Do you remember the exact moment you fell in love with cinema?
It’s not one moment, but a vivid tapestry woven from a few unforgettable threads of my childhood. At four years old, I was sprawled on the living room floor, mesmerized by The Good, the Bad and the Ugly. The haunting, sweeping notes of Ennio Morricone’s score — those iconic “wah-wah-wah” sounds I gleefully called “Bip Bum” as a toddler — hit me like a lightning bolt.
Then there was the time I saw a documentary about Tutankhamun’s treasures at the Metropolitan Museum. The golden mask, the ancient mysteries, the way the camera lingered on those artifacts — it felt like I was unearthing secrets from a lost world. And the Sesame Street Yip Yips — those goofy, wide-eyed aliens — taught me that cinema could be pure joy too.
Those moments, from Morricone’s “Bip Bum” to mummies to Muppets, planted the seed: cinema wasn’t just moving pictures. It was a way to feel the world — its beauty, its mystery, its humor — all at once.
Tell us about your project “THE GIANT”.
The GIANT has been burning in my soul since my family member Robert LeBlanc gave me the idea back in 2013. Drawing from my U.S. Army service, I created this half-hour crime drama series to shine a raw, unflinching light on the heroes among us: sheriffs, deputies, and everyday guardians who wrestle their demons while keeping the line between order and anarchy intact.
Set in a tight-knit town gripped by a surge of brutal crimes, it follows Sheriff Clay “Giant” Walker — played by me — a towering lawman haunted by his past. This isn’t just a badge-and-gun story; it’s a journey of redemption, where Giant and his diverse team confront external threats and systemic biases, uncovering a tragic truth that hits close to home.
Our priority is building a team of veterans, first responders, and their families — because who better to tell these stories than those who’ve lived them? Seventy percent of our cast and crew bring that lived experience, infusing every scene with authenticity you can’t fake.
The cast includes Jake Busey, Jeremy Miller, Joseph D’Onofrio, Anthony De Longis, Vanessa Thorpe, Eli Jane, Kelley Poling, Jackie McCarthy, Eddy Rich, Vinny Gomez, Ed Truco, Diego Aguirre, Cody Cowell, Errol Greaves, Johny “Utah” Muligan, J. Neilson, Jon-Paul Gates, Michael Sean McGuiness, Tuesday Knight, Sara Touijer, Carla Perez, Susan Spano, Susanne Case Sulby, Leila Sbitani, Thiago Santos, Brett Azar, Richard Ryan, and Doug Marcaida.
Behind the lens: Larry Gress (DP), Alfonso “Fonz” Trinidad, Emily Roos, Juan Pablo Reinoso, Amanda Terry, Charlie Parish, Jordan and Jessica Bennett, Shawn Parsons (“Hell if I Know”), and PM/PC JD Wesly. Sponsors include Patriot Tactical, 51/50 Rifles, Everyday Armor, PROPPER Uniforms, Cigar Saver, Marathon Watch, Moake Candles, Penman Hats, and Battle Box.
We’ve already earned semi-finalist nods at Berlin Shorts and Cine Vista Oasis for our pilot script, poster art, and trailer — plus a Bronze Telly Award for Best Script TV Pilot. THE GIANT isn’t coming to save the day — it’s here to remind us that giants aren’t born; they’re forged.
Which director inspires you the most?
Sergio Leone’s operatic showdowns make my pulse race; David Lynch’s Mulholland Drive warps reality in ways that haunt me; Rod Serling’s Twilight Zone parables punch us in the gut with truth disguised as fiction. Lois Weber tackled taboos like abortion and addiction in silent epics, wielding cinema as a weapon for social change.
But if I had to crown one who ignites my core, it’s Alice Guy-Blaché. She didn’t just direct — she pioneered. In an era when women were footnotes, she cranked out over a thousand films, proving that bold voices could shape worlds from scratch. Her fearless innovation inspires me to push boundaries and craft stories that aren’t afraid to dream big or speak uncomfortable truths.
What do you dislike about the world and what would you change?
I dislike the pervasive hidden agendas that poison trust in institutions, where transparency is sacrificed for power plays and profit. Trade restrictions stifle creativity and access. The grotesque overpayment of talent and athletes, while essential workers scrape by, feels absurd.
On guns: The issue isn’t hardware; it’s ammo. Restrict ammunition purchases with age limits like alcohol or cigarettes and watch impulsive violence plummet.
Most infuriating is the vilification of the vulnerable: sex workers shamed, addicts demonized, and those with mental health struggles stigmatized. We’re all one bad day from needing help — why punish humanity’s frailties?
What would I change? Radical transparency. Abolish unnecessary trade barriers. Cap exorbitant salaries in entertainment and sports, redirecting funds to public goods. Implement ammo controls. Decriminalize and destigmatize sex work, addiction, and mental health. Build a world where fairness isn’t a slogan and vulnerability isn’t a crime.
How do you imagine cinema in 100 years?
Cinema will evolve into a fragmented, hyper-personalized ecosystem. Traditional theaters will be relics, replaced by vertical, short-form media — 1–5 minute stories optimized for holographic displays or neural implants.
Star power will fade, replaced by algorithm-curated “micro-celebrities.” Big budgets will give way to democratized production via AI. Revenue will come from micro-transactions or ad integrations woven seamlessly into stories.
But this isn’t dystopia; it’s liberation. Cinema will be everywhere and for everyone, blending reality with fiction in augmented worlds where you don’t watch a story, you live it.
What is your impression of WILD FILMMAKER?
WILD FILMMAKER is a groundbreaking platform revolutionizing indie cinema — a true hub for passionate storytellers to connect, innovate, and thrive. It embodies the essence of collaboration I champion: “There is no ‘me’ without the ‘we’!”
This community fosters worldly connections, diving deep into experiences that yield the best outcomes, whether through exclusive interviews or events celebrating authenticity and resilience. It’s not just a magazine; it’s a cultural force empowering filmmakers to create timeless narratives that outlast trends, echoing my mantra: “This Stitching Will Last.”
