Let’s dive into a Q&A with filmmaker Russ Emanuel. An intimate look into Russ’s journey as a professional in the entertainment industry.
Meet Russ Emanuel
Russ Emanuel is an accomplished director, producer, and independent filmmaker known for his work in both short and feature films. He founded Russem Productions in 2002 and has since produced and directed films such as “Occupants,” “Chasing the Green,” and “The Legends of Nethiah.” Emanuel’s films have received critical acclaim and numerous awards, including Best Sci-Fi Feature Film at Shriekfest and Official Selection at San Diego Comic-Con. He has also been recognized for his contributions to the independent filmmaking community, including being inducted into the International Indie Filmmakers Hall of Fame in 2025. Emanuel’s work continues to showcase his unique storytelling and cinematic vision.
What was the defining moment that made you realize you wanted to pursue filmmaking (or your role in the industry)?
It is when I listened to the music of John Williams, which are such iconic scores in Superman (1978) and Jurassic Park (1993).
Who or what has had the greatest influence on your creative journey?
It would be my parents, Charles and Akemi Emanuel. They were super supportive of me when I decided to pursue filmmaking as a career.
What was your first project, and what did you learn from it?
My first project was a short film called Her Knight, which I did in 2003. I learned not to try to tackle everything by myself. I worked with my filmmaking partner of twenty years, Emile Haris, who initially wrote and edited the film. I decided to also help write and edit it, which turned out to be a detriment to the film. The pacing was then bogged down by my additions. I found out my strengths lay elsewhere, such as directing and producing. Since that film, I trusted Emile to focus on the writing/editing (as he was super talented in those fields). He unfortunately passed away in 2023, and I miss him dearly.
Looking back, what was the biggest challenge you faced breaking into the industry?
I think being a minority filmmaker meant I felt I had something to prove and work double hard to try to make it in the industry.
Which project are you most proud of, and why?
I am most proud of my fourth feature, Occupants, which won so many accolades, including Best Sci-Fi Feature at Shriekfest and Best Director at Las Cruces Film Festival. That film really helped propel my career and I have since been able to direct two more feature films. There is also a new one (my seventh feature) filming in February of 2026 called All For Tomorrow.
Can you walk us through your process when starting a new project?
You first start by coming up with a business plan about what you want to accomplish and then finding the right script or writing one yourself. You then try to bring on name talent and approach investors with your game plan.
How do you approach developing a story or visual style?
It depends on each film, and I have done many genres. However, I love surprise twists and a sense of mystery in films I direct.
What’s something about the filmmaking process most people would be surprised to learn?
It’s very fluid/ The script you start with may not be the script you film with, and definitely not the same script as seen in the final film when it is completed. It involves a lot of tweaking with such things as actors saying certain dialogue in different ways to get the most natural performance, or logistic issues such as there being three rooms in the house you are actually filming in versus the four rooms as mentioned in the script.
Can you share a behind-the-scenes moment that changed the way you view filmmaking?
There was one time when I had to combine two shoot days into one due to my producer’s insistence, while we were already two weeks into filming, and I had to think outside the box to make it happen.
How do you handle creative differences with collaborators?
I like to think of collaborators as family members and each member can have their own ideas. So, for me, it is trying to come to a consensus of what we all want and what works best for the film.
How do you challenge yourself to tell stories in ways that haven’t been done before?
I like to try new things. For instance, in Occupants and Wisper, we employed the found footage technique to tell the story, and with Staycation, combined the found footage technique with traditional narrative filming.
What risks have you taken creatively that paid off?
I think the one that really worked was when we had a shot where the lead actress whacks herself in the head with a frying pan. It was a risky decision, as it was a visual effects shot that we needed her to perform twice in the same frame: one as a natural blonde and then a few hours later (after dyeing her hair brunette), doing the performance as her alter ego.
Have you ever taken a risk that didn’t work out, and what did you learn from it?
I think my first film. I took it upon myself to finish editing the film over my friend and editor (the late) Emile Haris’ objection, and I worsened the pacing of the film. I always regretted that decision.
How do you balance personal storytelling with universal themes that connect to wider audiences?
I always try to tell the best story possible, given the script I am hired to work with as a director. I always see something of myself in the characters or the story itself and used that as a starting point for understanding said characters and said story. That way I can convey my “direction” to my actors and crew with better ease.
In what ways do you see film as a tool for cultural or social change?
I like to use film to hopefully entertain whatever audience watches the film. If they are entertained, I hope it means they will remember the film and take something from it.
What has been your experience with raising funds for projects?
I have been pretty lucky, as I had my producer Howard Nash on my first five feature films handle that aspect, Since I have been blessed with working with a lot of name actors and winning some major awards, that resume has backed me up with my current financiers to finance my latest features.
How do financial constraints influence your creativity?
You do need to sometimes compromise here and there, such as hiring certain actors based on whom the investors want.
What strategies have helped you sustain a career in such a competitive industry?
I just keep trying to work at it every single day and hopefully will be able to make future films. I am super grateful for all the films I have done already and to all who have been supportive of my endeavors, including this article. Thank you so much.
What advice would you give to filmmakers who are struggling to secure funding?
Try to attach a name actor to your project. It does help to get money people interested.
Do you think access to funding is getting easier or harder for emerging filmmakers today?
I think it is easier because of sources like online crowdfunding, which were not available to me when I started filmmaking in the late 1990s and early 2000s.
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