Behind the Scenes with Joshua Ellis: 1st AC and Educator at Miami Dade College

Joshua Ellis is a former Los Angeles-based IATSE Local 600 camera assistant. Originally from Seattle, Washington, he earned his B.A. in Film and Video Studies at Central Washington University and later received his M.F.A. in Motion Picture, Television, and Recording Arts at Florida State University. With a well-rounded educational background, he pursued a film-related career through his work experience in L.A. As part of the Camera and Electrical department, Josh worked on feature films such as Harsh Times, Keith, and Crank: High Voltage. Beyond his substantial work in the camera department, he shares his advanced expertise as a full-time professor at Miami Dade College, where he teaches Film and Television Production during the year. I was able to speak with Josh at Miami Dade College, where he is teaching summer classes.

What would you say is the main job of an executive producer? People often describe a producer as having many roles.

Every day is different for a producer in a low-budget indie film versus a studio film. You’d think that producers controlling million-dollar budget films would be the ones to bite off more than they can chew; however, this idea applies more to low-budget producers. Josh explains how producers may take up 10-15 jobs. They may deal with locations, casting equipment, crew, or even post-production necessities. Producers generally end up being the backbone of projects. Producers who can juggle good skill sets successfully move forward and are often relied upon heavily by others. Executive producers are commonly associated with big union productions.

Josh mentions how Moonlight, the Academy Award-winning film for Best Picture in 2016, was made for under 2 million dollars. Such an anomaly was achieved through the crew maximizing the use of locations and the DP’s (Director of Photography) passion for collaborating well with the director. The film market is obscure. “It’s hard to know how a film will go. You put lightning in a bottle, pull your heart out, and no one may like it. People try hard, yet it’s brutal.”

Networking is key in the industry. By finding people with complementary skill sets, you can carry out an unfathomable amount of work. “Finding at least two people who really click with you, especially at film school, is where you’ll be able to make life-long relationships. This would be difficult to start if you’re just stuck in your room.” I mentioned Wes Anderson and Owen Wilson as good examples. They met their sophomore year at the University of Texas at Austin in a playwriting class. They co-wrote Bottle Rocket, which was recreated three times from a short to a low-budget to a feature. They were unstoppable, entirely made for one another.

What was it like working in the Camera & Electrical Department on set?

Josh first defined his roles. As a 1st AC (first assistant camera), you must maintain focus, build, set up, and get ready for the shot. Whether the DP wants to pull focus on the shot or adjust the camera settings, a 1st AC tends to that. Josh describes the experience as nerve-racking since you have to be on your toes at all times. At any given moment, the director can go CUT, and you must respond rapidly. This, of course, comes with excitement. The adrenaline rush infuses you into the action. In the '90s and early 2000s, Josh physically took control of the camera. Now, with all the technological advancements, a remote focuses the monitor. I followed up with a question about the dolly. Dolly shots are typically on rails. You can have a dolly-in and zoom-out shot, which creates a sense of unease. An iconic shot in Jaws displays this technique, as it enhances the hesitant, frightful stare into the ocean when the shark fin protrudes above the water.

What is an instance in your life where you built a connection that pushed you in the right direction?

Josh goes on to emphasize how paramount it is to meet people. Finding your tribe of people who come together with complementary skills is what bolsters your motivation and drive to be a creator. I asked Josh if he’d ever be a director. For student films, he’s taken on that role, but he finds it to be mentally exhausting. He talks about filling a role with someone who is passionate about it.

He got a call from a friend to do some free work. He had been a part of the industry long enough to know free work wasn’t going to cut it. He was told to do it because of the lasting impact it would have on him. He met a DP who was the number one infomercial guy in L.A. Josh was able to get around 100 paid days of high-pay, low-stress jobs. “Always listen to your friends. As someone who is fairly introverted, meeting as many people as possible allows you to evolve. People starting out must realize it’s a marathon, not a sprint. That is why starting out as a Production Assistant is your best option." Josh runs a Production Assistant Bootcamp three times a year. After a lot of preparation, he built the machine that would smoothly run this camp. Being able to walk comfortably onto a set is the main goal to be achieved from this bootcamp. Essentially, you are supposed to do many things that others don’t want to do. Starting out that way is a great first step to understanding how to break into the industry. You’ll try a little bit of everything, from having the editor hat on to sitting beside the production designer.

What was your funnest filmmaking experience?

Josh had never been to South Carolina. He got a call to help with a small feature consisting of a 20-person crew. The director didn’t have much experience, so she allowed him and his operator friend to be creative in their shots. This creative freedom allowed him to have a blast! Overall, coming to movie sets practically every day is exciting, random, and fun!