NFMLA Virtual Panel | Making It Work: Sustaining a Creative Life in a Changing Industry

Here's to making it work! What does it actually take to sustain a creative life today?

Join moderator Miguel Angel Caballero in conversation with Gerardo "Gerry" Maravilla, Wesley "Wes" Rodriguez, and Rocío López - writers, directors, cinematographers, producers, and performers who've built careers by working across various mediums, formats, and roles rather than staying in just one. From narrative shorts and features to branded content, vertical micro-dramas, and family-focused media, this panel will share how they've pieced together sustainable creative careers and how versatility, rather than specialization, has become essential to longevity in the industry today!

🗓️ Friday, September 18, 2026

🕔 2:00 PM – 3:30 PM PDT  

💻 via Zoom

🎟️For your tickets and passes, register here!🔗

NFMLA Virtual Panel | Behind Diego Luna's "Ashes": A Writers' Conversation with Co-Writers Abia Castillo and Diego Rabasa

Join us for a conversation with Abia Castillo (Huesera, Tribeca award-winner) and Diego Rabasa (Sexto Piso publisher, producer of Ashes), co-writers of “Ashes,” directed by Diego Luna and adapted from Brenda Navarro’s acclaimed novel. Following a young woman’s journey from Mexico to Spain in search of her mother, the film premiered in Special Screenings at Cannes this year. 

Moderated by Abbey White of The Hollywood Reporter, an award-winning journalist whose work has focused on film, television, theater, inclusion and more, Castillo and Rabasa will share their insights into adapting a novel for the screen, writing character-driven stories rooted in personal experience, and the creative choices that shape how a difficult story gets told.

🗓️ Tuesday, September 22, 2026  

🕔 5:00 PM – 6:30 PM PDT  

💻 via Zoom

🎟️For your tickets and passes, register here!🔗

The advocacy that NFMLA has been leading for an independent film incentive in LA, in partnership with LA County Supervisor Kathryn Barger, SD5 Economic Deputy Monica Banken, and LA County Department of Economic Opportunity Film Office Head Gary Smith, is gaining significant traction. Cerys Davies wrote a story about the efforts in the Los Angeles Times (photography by Ronaldo Bolaños):

https://www.latimes.com/entertainment-arts/business/story/2026-08-05/la-county-weighs-grant-fund-to-keep-indie-films-from-leaving

While the LA Times article generally seems to celebrate the idea of this initiative, we must respectfully disagree with the opinion of Tulane University associate professor of economics Patrick Button. His assertion that indie filmmakers working with tight budgets are less likely to relocate than studio productions is unfounded and undermines the narrative we see year-round as these entrepreneurs in LA strive to make their films a reality. Sylvia Ray is just one example. Incentives have undeniably become an essential part of the financial equation; the difference between studio and independent simply does not matter. $200,000 is as valuable to a $1 million independent film as $20 million is to a $100 million studio film.

In addition to Barger’s support, Supervisor Lindsey P. Horvath and her team, including Rachel Fox and Zahra Hajee, are major leaders in bringing this vital economic stimulus for Southern California to fruition. We also want to acknowledge Supervisor Holly J. Mitchell for her tireless efforts to support creative jobs in LA and for her work as a member of the California Film Commission Board.

Thank you to everyone who has contributed their time, expertise, or support. There is still much work to be done, and we will need to build a strong coalition to activate philanthropic and community support for this concept. 🎉 👏 🎬

Join executive producer Arthur Cohen for a conversation on the making of Jim Queen, the animated feature that premiered to a standing ovation at the 2026 Cannes Film Festival. Produced by French animation studio Bobbypills, the film marks a bold, genre-defying entry in adult animation. Arthur will share the story behind bringing the project to life and the experience of watching it connect with audiences at one of the industry’s biggest stages.

This discussion will be moderated by Liam LoPinto, an award-winning Iranian-American filmmaker and animator from New York City.

🎟️ For tickets and more information about the panel, please visit us at: https://www.newfilmmakersla.com/events/nfmla-virtual-conversation-jim-queen-at-cannes-behind-a-breakout-moment-with-executive-producer-arthur-cohen/

And catch a preview of Jim Queen's visuals below!

Join us for a virtual conversation with Tanja Tawadjoh, the Executive Producer and Vice President of Development & Production at Ranfilm West, as she discusses navigating international co-productions and building projects for the European market. Drawing on her experience championing emerging and underrepresented storytellers, Tanja offers practical insight into packaging projects, securing international partners, and creating opportunities that bridge the U.S. and European markets.

🎟️ For tickets and more information about the panel, please visit us at: https://www.newfilmmakersla.com/events/nfmla-virtual-conversation-beyond-borders-what-it-actually-takes-to-co-produce-in-europe/

📍NFMLA Virtual Conversation | Navigating Careers Inside the Vertical Content Boom

🗓️Wednesday, February 11th, 5:00 pm PST

Join us for a conversation with Lameng Bei, Head of Studio at DramaBox and Austin Herring, Founder and CEO of Snow Story Productions, as they offer a behind-the-scenes look at how the vertical content industry operates from top down.

Drawing from their experience leading studios, producing dozens of series at scale and setting creative and operational benchmarks, they will discuss how careers are formed in the vertical space. From creative roles to leadership positions, we’ll explore what skills, mindsets, and pathways matter most for those looking to work in this rapidly expanding sector.

🔗 Get tickets at:

2/11/2026 - NFMLA Virtual Conversation | Navigating Careers Inside the Vertical Content Boom - NewFilmmakers Los Angeles

📍NFMLA Virtual Conversation | Tough Talks Made Easy...Lose the Fear, Gain the Confidence

🗓️Thursday, February 12th, 6:00 pm PST

This interactive workshop with Entertainment Career Coach/Talent Agent Consultant/NFMLA Workshop Facilitator Jim Arnoff will give you the insider’s take on what it takes to start that conversation, maintain the courage throughout and come out with a powerful result.

It’s all about confidence, trust, authenticity and knowing that tough talks are really about creating a stronger connection. This workshop will give you specific tools to frame the conversation, choose empowering words, listen in a more empathetic way and come away with a deeper respect for each other.

🔗 Get tickets at:

2/12/2026 - NFMLA Virtual Conversation | Tough Talks Made Easy...Lose the Fear, Gain the Confidence - NewFilmmakers Los Angeles

Go and Book now!

Entertainment Partners' industry-leading Movie Magic Budgeting 10 software is essential for anyone working in film and television production. This course will introduce you to everything you need to know to use it effectively.

Presented by leading Movie Magic trainer, DEWI GRIFFITHS, the course provides you with a unique opportunity to get fast track training from an expert.

If you meet the relevant criteria, you may also be eligible to apply for a bursary from ScreenSkills.

The course covers the relationship between budgets, schedules and finance, key considerations before you start a budget and determining essential requirements to create a realistic budget.

You will learn how to create and set up a budget using templates and tables, including organising units, globals, groups, fringes, and currencies. You will learn how to revise and export budgets, manage cost reports and track your costs.

The course also includes many time saving software tips and tricks!

Should you need it, you may also be able to access a demo version of the software to use during your course.

Your training day is divided into two, two hour sessions and will take place between 1100 - 1300 and 1400 - 1600.

If you think you may be eligible for a bursary, you can contact ScreenSkills by following this link:  https://tinyurl.com/4cfxdfsd

This session is produced by Grand Scheme Media, a company with a reputation for delivering five star online and live media training for over ten years.

DEWI GRIFFITHS

Dewi has over 30 years of experience in film and television production. He has worked across the globe on over 150 feature films, television dramas and documentaries. He has managed the most complex and demanding productions, with budgets ranging from £125,000 to £8,000,000.

As well as running film sets on four continents with award winning crews & talent, Dewi also has top level international experience in Film and Television Education.

He works closely with Entertainment Partners on the launch of new products and has been involved in the development and testing of the latest versions of Movie Magic Budgeting and Movie Magic Scheduling.

Join us for a virtual conversation with Jim Arnoff, Entertainment Career Coach and Talent Agent Consultant, who will offer guidance on reclaiming your power in collaborations, pitch meetings, and creative partnerships. He will share insider strategies for defining your own path in the entertainment industry and moving past the limiting beliefs or “industry rules” that often hold creators back.

Jim will also provide coaching tools to help you articulate your vision with clarity, clear internal blocks, and build a concrete, actionable plan for achieving the career you truly want—on your own terms.

🎟️ For tickets and more information about the panel, please visit us at

The December Monthly Film Festival will features the annual InFocus: Middle Eastern & Arab Cinema program, which will showcase an international lineup of films by talented emerging Middle Eastern and Arab filmmakers across two short film programs, including one curated in partnership with Mizna, and will open with a selection from NFMLA’s ongoing monthly programming. 

View the full festival lineup, including trailers.

Schedule Details

Program #1 – December Shorts2:30 PM – 3:00 PM – Pre-Reception3:00 PM – 5:00 PM – Program5:00 PM – 5:15 PM – Audience Q&A

Program #2 – InFocus: Arab Cinema5:15 PM – 5:45 PM – Pre-Reception5:45 PM – 7:15 PM – Program7:15 PM – 7:30 PM – Audience Q&A

Program #3 – InFocus: Middle Eastern Cinema7:30 PM – 8:00 PM – Pre-Reception8:00 PM – 9:45 PM – Program9:45 PM – 10:00 PM – Audience Q&A

Find more photos of the event here! NFMLA November Film Festival November 15th, 2025!

We hope to see you at one of our future events! Check out all upcoming NFMLA events on our website at www.newfilmmakersla.com/events/.

I am excited to share the latest Behind the Scenes: The State of Inclusion & Equity in TV Writing report.

https://www.writeinclusion.org/research

This year, TTIE partnered with Horowitz Research to reveal what's blocking writers from creating the diverse, authentic stories audiences are demanding. The business case is clear: 65% of audiences want diverse, authentic stories, and nearly half would drop companies that pull back from DEIA. But systemic barriers persist.

The report examines where inequities hit hardest: 

• Workplace discrimination is widespread: About half (45%) of all survey respondents report having experienced microaggressions, harassment, discrimination, or bullying at work at least occasionally. 39% of those asked said these incidents were perpetrated by their showrunners, and 47% said the perpetrator was another writer.
• Payment disparities in development: Writers who have developed projects for studios or distributors are more likely to be paid than those who have developed for PODs (59% and 80%, respectively, vs. 27%). However, there is a remarkable disparity in terms of who gets paid for development and who doesn’t: 42% of historically excluded writers reported mostly unpaid development by studios versus only 19% of non-marginalized writers.
• Showrunner advancement gap: Only 49% of historically excluded writers in development say that if their project were greenlit, they would be made showrunner, compared to 79% of non-marginalized writers in development.

These aren't just statistics—they're the concrete inequities TV writers navigate daily. But this report is also a roadmap. It's a tool for:

• Writers navigating their careers and advocating for themselves
• Showrunners and executives seeking concrete ways to build better rooms
• Agents and managers wanting to be stronger advocates for all their clients
• Changemakers seeking areas of intervention and opportunity

I hope you find it helpful in your work! If you would like to share with your networks, the link is WriteInclusion.org/research.

The 2025 edition has been made possible thanks to support from the Rhulen Family Foundation in honor of the late independent film producer Anthony Rhulen.

NewNarratives will award $25,000 USD total in funding. The first grant category is made up of four (4) artist grants in the amount of $5,000 USD each, which will support short films, feature films, episodic series, live-action, fiction, documentaries, experimental works, and/or animation projects at any stage of production. This includes concept development, early development, pre-production, production, post-production, and audience strategy.

This year, we are proud to announce two new funding partners, The Hollywood Climate Summit and Athens Services. These organizations have joined forces with NFMLA to support storytellers whose projects focus on themes of environmental awareness, including issues that impact our climate, ecosystems, communities, and more. This second grant category is made up of one (1) $5,000 USD grant specifically for short films in post-production that align with climate and/or environmental consciousness (fiction, documentary, live-action, or animation).

Program applications open up to members of NFMLA today, July 8th, 2025, with a submission deadline of August 5th, 2025. Read the full article: https://www.indiewire.com/news/general-news/newfilmmakers-la-five-grants-emerging-creators-1235137230/

For more information and to apply, visit https://nfmla.org/newnarratives/

Niels will discuss the role of an executive producer in feature filmmaking, how to build relationships with executive producers who can propel projects forward, what executive producers look for when deciding whether or not to invest in developing a project, and how executive producers at Niels’ level stay informed about new and emerging writers and filmmakers. We will also delve into Niels’ overall career and his experiences across the industry.

For tickets and more information about the panel, please visit us at 

You can find more photos of the event on our website below!

We hope to see you at one of our future events! Check out all upcoming NFMLA events on our website at www.newfilmmakersla.com/events/.

Thank you again to the legendary filmmaker Robert Rodriguez for leading such a phenomenal RISE master class! Our cohort is still buzzing over Robert’s lecture on how to stay authentic to your work! 🥳🎥⭐️

Huge thank you Ana's tacos for serving us mouthwatering tacos and to our partners Sanzo and The Cocktail Collection for keeping us refreshed all night. We’re truly grateful for the unforgettable night you helped us create! 🥰🥂🌮🔥🤩

You can find more photos of the event on our website below!

We hope to see you at one of our future events! Check out all upcoming NFMLA events on our website at www.newfilmmakersla.com/events/.

You find more photos of the event on our website below!

We hope to see you at one of our future events! Check out all upcoming NFMLA events on our website at www.newfilmmakersla.com/events/.

Since the early days of Hollywood, movies have been made within the confines of the major studios. Sprawling campuses comprised of sound stages and backlots were where stories came to life, and productions rarely left these havens to risk the logistical challenges of shooting in real-world locations.

In time, that practice changed. Westerns began shooting in actual deserts. Film noirs sought out dark city corners to enhance the mood. Steven Spielberg took his sea-faring shark adventure all the way to Martha’s Vineyard. As this shift occurred, an important new role in the production crew emerged: the location manager. These professionals were tasked with going out into the world and finding places that could make written words on a script come alive with an entrancing authenticity on screen.

Now, organizations like the Location Managers Guild International have thousands of members, as their role has become indispensable to any film or television production. We spoke with award-winning location manager Wes Hagan (‘Selma,’ 'Hidden Figures,' 'Ozark,’ ‘Lovecraft Country’) about how important a location manager is to any project.

What is a location manager?

A location manager’s job starts with a screenplay. Once they receive it, they’ll break it down – often with producers and production designers – to determine what elements will be needed. What will be shot on location or on a soundstage? What type of locations are required? Once a preliminary list has been settled on, the location manager gets to work.

“Research is a huge part of the beginning process, before you hit the ground and waste gas and time driving around looking for locations,” says Hagan. Research is especially important for period-set pieces, which Hagan loves and has often worked on, like ‘Lovecraft Country’ (set in the 1950s) and ‘Hidden Figures’ (set in the 1960s). “I did a lot of research for what things really looked like back then, what these people did, where they lived,” he says. Images of the past then provide reference points for finding a location in the present.

Once the groundwork is laid, location managers send out their hired team of scouts and assistants – or head out themselves – to find suitable places to shoot for the project. Locations are visited, photographed, and assessed. Then, the options are narrowed down based on creative and logistical suitability. Does the location suit a director’s vision? Does it seem like it can accommodate what happens in the story in that place? Does the location have sufficient access to power for equipment? Is there space for trailers? Is there a lot of noise? Once a shortlist has been created, a location manager presents it to a director for final selections.

When location selections have been made, then negotiations begin. “We are involved in contractual agreements with whatever location we pick,” Hagan says. Whether it’s securing city permits, or getting access to public and private spaces. Locations also need to be set up with security, power, heat or air conditioning, tents, catering, and bathrooms, in addition to anything else the filmmaking teams needs. “We are there as a support factor for the film crew,” Hagan says. “We gather all of the information from every department, electric grip, art department, you know, and figure out what it is that they need.” Then principal photography happens, locations are wrapped up, and returned to their original state.

The steps are the same for any location, but the job is far from repetitive. “Our job always changes based on the location picked,” Hagan says.

How do you become a location manager?

Hagan was introduced to the path of becoming a location manager by serendipity. “A movie [‘Harvest of Fire’] came to my hometown in Ohio, many years ago when I wasn’t sure what I was going to do with my life and I joined the show,” he says. He made contacts throughout the shoot and decided to move to California to make films and television. Hagan started out as a production assistant, as many do, deciding along the way to pursue location work because of its nature and longevity. “The location guys get hired first, and they're usually around at the end. It was a longer run every time,” Hagan says. “On top of that, we get to interact with all the departments.”

Committed to that path, he forged ahead to learn the ins and outs through non-union roles, teamster work, and location scouting. “Location management has a chain of command, like most departments do,” Hagan says, typically following the path of production assistant, then assistant location manager, then key assistant, and then, finally, manager.

It’s not necessarily a fast climb, he cautions. “You'll have to spend a certain amount of time in each one of those positions before you can move on,” he says, but you will get there.

There are organizations that can help along the way too, such as the Location Manager Guild International (LMGI) where Hagan was a board member for six years. “I got involved in it at a time when they were trying to reinvent themselves,” he says. The goal was to take the organization global in helping those in location careers better connect with productions and businesses. In the process it turned into an indispensable part of being an aspiring location professional.

What makes a location manager successful?

An effective location manager requires a few key general abilities. They need a good eye for design to identify interesting locations, along with a strong creative imagination to help create the look of a project to suit a director’s vision; they need to be a good photographer in order to capture images of locations that can best sell a location; they need to be a people person in order to form strong relationships, negotiate, and communicate.

The job also requires an understanding that locations aren’t just places, but characters in their own right that impact a story. This can be seen in Hagan’s work time and again, whether it’s Los Angeles in ‘Angel,’ the pivotal town in ‘Selma,’ or his more recent work on ‘The Way Back.’ That film was initially written to be set in Torrance, California, but after scouting there for a week, Hagan saw that it was not cinematic enough, nor ideal for the film’s story. He suggested San Pedro instead. “We moved Ben Affleck’s character into that neighborhood,” he says, “and the working-class town greatly accentuated the blue-collar nature of the character and story.”

Another quality of a successful location manager is an out-of-the-box imagination. For period pieces, for example. A larger budget film, for instance, can use a modern-day city street and apply its large post-production budgets to digitally erasing any anachronism issues. A project like ‘Lovecraft County,’ however, calls for a location manager to look for more in-camera solutions. “For ‘Lovecraft’ we had to really scout for the most period, correct swath of Chicago that we could control,” Hagan says.

Alternatively, they need the ability to find ways to substitute one place for another. For ‘Lovecraft Country,’ that meant, for example, turning a traditionally Hispanic neighborhood in Chicago into one that was predominantly African American. Another example was Hagan’s work on ‘Ozark’ which – despite its title – only shot minimally in the actual Ozarks during season one. After that, the Netflix show shot in Georgia, requiring Hagan and his team to continually find places that convincingly double for Missouri.

Most of all, perhaps, being a location manager requires passion and a love for a job that’s never quite the same. “Every job is a little bit different. Same basic principles, but needs change,” he says. “Locations dictate what you need to do.” He wouldn’t have it any other way.