How did you discover your passion for film and television, did you always know that you wanted to be in production? What was that journey like?

I wouldn’t say that I always knew, but the spark for performing and entertainment came early. When I was 8 or 9 years old I joined a local radio show called “The Walker Dramateers”. It was a show led by a fabulous woman named Ms. Walker who was a children's and adults drama instructor. Looking back that show was a very raw, early iteration of much of what entertainment looks like today. It was also completely DIY, we used coconut halves to emulate the sound that horse hooves make on the ground. Every week for 5 years I studied drama with her, and then moved on to work with another teacher. I eventually started summer stock theater

As my interest in the performing arts began to shift toward music, I began DJing on a local FM radio station, when FM was an uncommon thing. It gave me an early understanding, even if I didn’t recognize it at the time, of connecting with an audience that you couldn’t see.

By the time I was 16, I had created two regional records - music was a huge part of my teenage years.

You hadn’t performed before joining The Walker Dramateers. What made you say yes to it in the first place? Was there a moment that pushed you toward giving it a shot?

To be honest, I didn’t know I wanted to do it at first. I had never really performed before. But my parents, especially my mother, were very involved and supportive of all the things that I was doing growing up. She wasn’t a stagedoor mother by any means but she pushed me because of an instinct about what might light a spark in me. She heard about the Dramateers and took me along, I am really glad she did. I took it seriously and quite frankly, had a lot of fun with it. I think there is something really meaningful and powerful in that: showing up and giving it your best shot, even when you don’t know what you are getting yourself into.

What would you advise a 14 year old kid like me to find my passion or get involved in something the same way that you did with the dramateers.

If I had any advice for someone young and unsure of what they want to do, it’s this: try absolutely everything. Be open. Say yes to things that feel unfamiliar. You don’t have to know right away what your passion is. Sometimes you have to run into it by accident and the only way to do that is by getting involved in as many things as you can and seeing what sticks. I really recommend using the people around you, getting involved in what they are doing, and staying curious.

It’s really important to follow your heart. If you find something that you care about or are curious about, dive into it. Practice, rehearse, surround yourself with people who are better at it than you and learn from them. Repetition and consistency are key as well. Malcolm Gladwell said: “10,000 hours is the amount of time it takes to become an expert in something”

After graduating from Emerson and earning my masters at UCLA, I returned to Boston and began working at a large local TV station. I spent 9 years making documentaries and earned my 10,000 hours. By the time I moved to Los Angeles, I had the experience, but a new challenge arose. I had to gain trust and build my reputation. One job after another, I focused on doing each job to the best of my abilities. Each one had it’s own unique challenges but one job led to the next and I earned my way forward.

Through all of this, what was one of the hardest moments you had to push through, and how did you persevere?

This is probably my best and greatest story about perseverance. When I first came out to Los Angeles, I had ten solid years of experience from Boston under my belt. I thought I would hit the ground running. But for nine straight months I couldn’t get a job. I was going on two, even three interviews a week and still nothing. Eventually I learned a trick, people I knew said I would be remiss if I didn’t ask at the end of each interview, can you think of anyone else I should see? That question helped me build my network even if it didn’t result in a job.

9 months later at my church, I connected with a man named Father Kaiser. He was a 6'6 imposing German man. Turns out he produced syndicated drama shows all over the country with a focus on humanity, the stories didn’t have to be catholic, as long as they demonstrated love in mankind. He brought in brilliant actors and directors who were on hiatus to work on these shows.

I showed him my reel and he said “you are very talented, but if I hired you, you would have to work for free” and on top of that he said “I don’t have anything for you either”. For the first interview in 9 months I walked out of the office and cried.

Four months later I was sitting in church and he was giving a sermon, he said “the issue with the world today is that people don’t want to give back, if you are a doctor, give back, if you are a lawyer, do some pro bono, offer your skills, whatever they may be.” When I got home, I wrote him a letter: “Father Kaiser, why don’t you practice what you preach and hire me?” Two weeks later he gave me a call: “Is this Vin Di Bona?” He said “I just read your letter and you are going to regret writing it for the rest of your life. I want to produce a documentary about gangs in east LA and I want you to direct it”

Long story short, I did it, we won an Emmy, and 12 years later I was chairman of his board. The pen really is mightier than the sword.

Did you have a mentor growing up? What’s the most important thing they taught you, or the most profound advice you’ve ever received?

My first mentor was a man named George Quenzel. The equipment we had while I was studying at Emerson back then was terrible but that was part of the magic. He gave us full creative freedom. Every Thursday we would broadcast student made shows, many of them were takes on existing popular formats at the time. A friend and I made a dance party show. I remember another student made a game show called “Fibberino” which was all about telling the truth. I believe the freedom that we had was really important for my career.

Later, I met Basil Wright at UCLA, he was a famous British documentarian known for creating “Night Mail” and “Song of Ceylon”. His work was poetic and it helped me see a new perspective of film. He became another one of my key mentors.

There was also a TV executive I worked with while developing a studio show about early childhood growth. At one point he looked at our complex production plan and said “We are making this too complicated, let’s simplify it.” I have carried that advice everywhere and even now, when I get into a bind I always try to make things simpler.

P.S. Trust your parents. I wouldn’t be where I am today without mine. The fact is, your parents have been through so much more than you have. Learn from them. They were right much more than I would’ve liked to admit at the time.

What was one of the biggest turning points in your career

I spent about 10 years producing shows in Los Angeles. One day my agent called me and said “I have an interview scheduled for you to produce a show at Paramount.” That show happened to be “Entertainment Tonight”. It was in early stages and the previous producer had been fired, an interim guy, was named John Goldwyn, now a very dear friend. By random coincidence, he worked for the same station group that I had in Boston. He was at KDKA in Pittsburgh while I was at WBZ.

In preparation for the interview, they asked me to watch the show for a week and bring notes and suggestions. When I met John, I mentioned that I had seen his wife a few nights ago at a charity event. He said, “Well that's great, we’re getting divorced.” - Not the smoothest start.

Anyways, we connected. I gave him my thoughts and opinions: I thought the show needed more cohesion when the hosts signed off, as well as to do specials about the history of the business itself. I also mentioned one last thing, “The blonde cohost, she isn't right for the job.”

He looked me dead in the eyes and said, “I’m dating her.” But he agreed, “She isn’t right for the job.”

I later hired Mary Hart, and the rest is history.

What is your definition of success?

For me, success is a mix of happiness, accomplishment, fairness, challenging yourself, and trying to be consistent.

I have a four part formula for success: 1st is Preparation, those 10,000 hours really help when you are stepping up for a big job. 2nd is Premise, a great idea is integral for success. 3rd is Execution, an idea is nothing without action. 4th is Luck. You can’t control luck, but you can control the other three, and when you show up every day supplemented by Prep, Premise, and Execution, you put yourself in a pretty good spot to get lucky. You can’t force success, but you can build a foundation that invites it.

Vin is also an avid car enthusiast and collector.

I know you’re passionate about cars. I was just at the Petersen Museum recently. What’s your dream car? Do you have it?

I am lucky enough to say yes, I have a few.

A 1952 Jaguar XK120 two-tone coupe

A 1956 Ford Thunderbird

A 1958 Corvette, which is absolutely stunning

A 1957 Mercedes 300SC coupe

A 300SL roadster

A custom-designed car called the 789 Chevy—it’s got the front end of a ’57, the side of a ’58, and the rear of a ’59, all built on a new chassis

A 1956 Continental Mark II

And of course, a few modern cars in the garage as well.

I have always believed that cars are works of art.