Paul Eliacin is a film director with experience in film, television, and commercials. Paul physically spent over 30 years as a Teamster on TV sets such as Law and Order SVU & Criminal Intent, New York Undercover, and the Sopranos. On the film side, he participated in various projects including Boomerang, One Fine Day, Conspiracy Theory, Men in Black, and the First Wives Club. He was a crew member of the talk show, The Week In Review, which aired on WRKS-FM in New York City. In 2004, Paul released his own feature film, Up in Harlem, which is soon to be re-released on multiple streaming platforms. Paul credits Spike Lee as serving as one of his heaviest influences within the industry. Beyond entertainment, he is recognized for his heroic contributions as a First Responder during the 9/11 rescue and recovery efforts, dedicating long hours at Ground Zero. This left him struggling with a series of illnesses such as chronic rhinosinusitis, an upper respiratory disease, severe disruptive sleep apnea and post-traumatic stress disorder. He is still mentoring, writing and volunteering as an Outreach Coordinator for the homeless and needy, staying true to his belief that success is achieved “with God’s grace.”
What was the defining moment that made you realize you wanted to pursue filmmaking?
Having worked in the film industry for more than thirty-two years, I had the privilege of standing behind award-winning directors, watching how they selected their shots and listening to the language they used to communicate their vision. Every day on set becomes a classroom. I also learned a great deal from working on “Straight Out of Brooklyn,” the acclaimed independent film directed by Matty Rich, whose success proved that a powerful story could be told on a modest budget. One day, I said to myself, “I can do this.” Just like Matty Rich, I placed an ad on Backstage, the entertainment industry publication, looking for actors and a film crew to help bring my vision to life. I then reached out to people I knew in the business, including a few celebrity friends, and asked if they would consider appearing in my film. Before long, we were shooting on location in Harlem, New York. That was the moment my dream stopped being an idea and became a reality.
Who or what has had the greatest influence on your creative journey?
Three people have had the greatest influence on my creative journey. The first is Ice-T, the pioneering rapper and actor, whose career showed me what was possible through determination and hard work. The second is Spike Lee, the groundbreaking filmmaker whose unapologetic storytelling changed the landscape of American cinema. The third is my late brother, John Eliacin, whose encouragement and belief in me gave me the confidence to keep pushing forward, even when the road became difficult.
What was your first project, and what did you learn from it?
My first project was “Straight Out of Brooklyn.” Working on that film gave me an education that no classroom could have provided. I wore many hats and learned almost every aspect of filmmaking firsthand. It taught me how to make a movie on a limited budget, how to produce, how to direct, and, most importantly, how to solve problems under pressure. Every challenge became a lesson, and every lesson made me a better filmmaker.
Looking back, what was the biggest challenge you faced breaking into the industry?
The biggest challenge was balancing my day job with auditions and long hours working on film sets until I was finally accepted into Local 817 of the International Brotherhood of Teamsters. This is the union which represents theatrical drivers and transportation professionals in the entertainment industry. Getting into the union was a turning point. It gave me the opportunity to work alongside some of the best professionals in film and television while continuing to build my own career as a filmmaker.
Which project are you most proud of, and why?
I am most proud of my first feature film, “Up in Harlem,” starring Ice-T. For a first-time filmmaker, it was an incredible achievement. I assembled a talented cast that included rapper and actor Ice-T, singer Milira Jones, reggae artist Mad Lion, and the late Vaughn Harper, the legendary New York radio personality. What makes me especially proud is that we accomplished it on a shoestring budget, without a traditional film permit, relying instead on determination, creativity, and the willingness of talented people to believe in the project. Every day on set taught me something new. As the saying goes, experience is your best teacher, and Up in Harlem gave me an education that has stayed with me throughout my career.
Can you walk us through your process when starting a new project?
When I begin a new project, my first step is usually to place an advertisement in publications such as Backstage or other film industry magazines and newspapers to recruit a crew. I am looking for grips, electricians, sound technicians, camera operators, prop masters, wardrobe personnel, and a director of photography. One phrase I always include is “No experience necessary.” Those three words attract people who are eager to learn. Everyone has to start somewhere, and I believe in giving people that opportunity. I enjoy teaching newcomers and helping them develop their skills, just as others once helped me. Once my cast is in place, we gathered for a script reading over pizza and refreshments. It is a relaxed environment where everyone gets a feel for the story, the characters, and how the film will come together. After that, I scout locations. Since I usually do not have the budget for expensive permits, I have to think creatively. For example, I might ask friends to park their cars in front of a location so that when our production trucks arrive, they can move their vehicles and free up parking exactly where we need it. Having spent decades in the entertainment industry, I have built relationships with companies that often help me with discounted equipment and services. Independent filmmaking is about making the impossible possible. I don’t have the resources of a major Hollywood studio, so I rely on creativity, preparation, and the goodwill of people who believe in the project.
How do you approach developing a story or visual style?
Rehearsal is everything. I spend a great deal of time working with the actors until they fully understand the emotional truth of each scene, and then we rehearse again. On set, I monitor every take from Video Village, the area where the director watches the camera feed in real time, and we continue refining the performance until I believe the scene feels authentic and believable. I never settle for something that simply looks good. It has to feel real because audiences can always tell the difference.
What’s something about the filmmaking process most people would be surprised to learn?
Most people would probably be surprised by how much time and effort goes into capturing a single shot that may only appear on screen for one or two minutes. A scene that audiences watch in the blink of an eye can require hours of lighting, camera setup, rehearsals, sound checks, and coordination among dozens of people. It is a tremendous amount of work for a very brief moment on screen, but that is the magic of filmmaking. When it’s done well, the audience never sees the effort; they simply become immersed in the story.
Can you share a behind-the-scenes moment that changed the way you view filmmaking?
One of the biggest lessons I learned was that every detail matters. A successful film depends on having the right people in the right positions, from the script supervisor, who ensures continuity, to the line producer, who keeps the production running on schedule and within budget. Everything has to fit together perfectly. If something is overlooked and we discover the mistake while reviewing the daily footage (what the industry calls the “dailies”), it can become very expensive. A single continuity error or missed shot can mean returning to the location and reshooting the entire scene. That costs time, money, and energy. Nobody works for free, so I learned very early that preparation is just as important as creativity.
How do you handle creative differences with collaborators?
Filmmaking is a collaborative art. Everyone brings ideas to the table, and I respect that. When creative differences arise, I believe in listening first and finding common ground. I don’t see it as winning or losing. I work toward a solution that satisfies both sides because, at the end of the day, we are all working toward the same goal—making the best film possible.
How do you challenge yourself to tell stories in ways that haven’t been done before?
Nobody wants to see the same movie over and over again. Audiences are looking for something fresh, and the industry is always searching for original voices. If your story has already been told the same way countless times before, it is much harder to attract financing or secure distribution. That is why I constantly challenge myself to think differently and find a unique perspective. If you don’t push yourself creatively, you are not only wasting your time, but you’re also risking your investment as well.
What risks have you taken creatively that paid off?
I have taken many creative risks throughout my career, mostly because I had to do so. Independent filmmakers do not always have the luxury of large budgets, so you learn to solve problems with ingenuity instead of money. For example, I couldn’t afford to rent a camera dolly, so I used a wheelchair to create smooth tracking shots. It worked surprisingly well. On another occasion, I needed to film inside a New York City subway station. Obtaining the required insurance would have cost thousands of dollars—money I simply didn’t have. I called a production meeting and asked my crew if they would be willing to quietly carry a small piece of equipment onto the platform, capture the shot quickly, and then wrap for the day. To
my relief, everyone agreed. We got the shot, packed up, and everyone went home early. You can actually see that scene in “Up in Harlem.” There are plenty of other stories like that, but I will keep a few of my filmmaking secrets to myself. Looking back, those risks paid off. I never attended film school, yet I fulfilled my dream of directing my first feature-length film with a cast of well-known performers. That is something I’ll always be proud of. It taught me that determination, resourcefulness, and belief in yourself can sometimes accomplish what money alone cannot.
Have you ever taken a risk that didn’t work out, and what did you learn from it?
Yes, and it is a lesson I hope every young filmmaker learns from and remembers. After completing “Up in Harlem,” I submitted it to the Sundance Film Festival, the premier showcase for independent cinema in the United States. It was the first (and ultimately the only) film festival I entered. The festival sent me a thoughtful letter. The judges complimented the film and encouraged me, saying they believed I was on my way to becoming a very good director. Those words meant a great deal to me. Unfortunately, my film was not accepted. I was so disappointed that I made one of the biggest mistakes of my career. Instead of submitting the film to other festivals, I shelved it. The years passed. The film stopped generating opportunities, and eventually it became too old to qualify for many festivals, which have deadlines where filmmakers often meet distributors, investors, and buyers. If I could give one piece of advice to aspiring filmmakers, it would be this: do not let one rejection define your future. Keep submitting your work. Keep believing in it. That is the mistake I made, and it’s one I still regret. To this day, I kick myself for giving up too soon.
How do you balance personal storytelling with universal themes that connect to wider audiences?
I try to tell stories that are personal but also relatable to people from every background. “Up in Harlem” is an urban story centered on a young woman who begins with good intentions but is gradually drawn into a destructive relationship with a smooth-talking drug dealer. Without giving away the plot, her choices ultimately cost her almost everything. While the story is rooted in Harlem, its themes are universal. It is about temptation, influence, consequences, and the difficult choices people face every day. Those are experiences that transcend neighborhoods, cultures, and generations. I believe there is something in the film for everyone, whether you are young or old. More than entertainment, I hope audiences leave with something to think about.
In what ways do you see film as a tool for cultural or social change?
Film is one of the most powerful tools we have for inspiring cultural and social change. A well-told story can bring people together, challenge assumptions, and help audiences see the world through someone else’s eyes. That is one of the reasons I am so passionate about my upcoming documentary on the September 11, 2001 terrorist attacks on the World Trade Center.
The documentary tells my personal story as a first responder who risked his life to help others during one of the darkest days in American history. Like so many who answered the call that day, I have paid a heavy price. I now live with numerous chronic illnesses linked to my exposure at Ground Zero. Some of the
medical terms are difficult even for me to pronounce, and I will remain on life-saving medications for the rest of my life. Despite those challenges, I believe my story is important because it represents thousands of first responders whose sacrifices often go unseen long after the headlines fade. Securing funding for meaningful films like this remains one of the greatest challenges facing independent filmmakers. Too often, opportunities depend on who you know, the connections you have, and whether influential decision-makers believe in your vision. Yet, I remain committed to telling stories that matter, because some stories deserve to be told regardless of the obstacles.
What has been your experience with raising funds for projects?
My experience raising money for my films has been the old-fashioned way—through my own savings and borrowed money. I never had wealthy investors or a major studio backing me. Every dollar represented a personal sacrifice, and every decision had to be made carefully because I knew exactly what was at stake. Independent filmmaking often means betting on yourself. That is what I did, and despite the challenges, I never lost sight of my goal.
How do financial constraints influence your creativity?
Financial limitations have influenced my creativity in every possible way. Whenever I ran out of money, production came to a halt. I couldn’t continue shooting until I found a way to borrow more or save enough to get the cameras rolling again. Those interruptions delayed the completion of my film far beyond what I had originally anticipated. They also forced me to become more resourceful. I had to think creatively, solve problems on the spot, and find affordable alternatives without compromising the story. Looking back, those challenges made me a stronger filmmaker. They taught me that creativity is not just about what’s on the screen; it is also about how you overcome obstacles behind the scenes.
What strategies have helped you sustain a career in such a competitive industry?
The key to sustaining a career in this industry has been staying focused, grounded, and humble. I have always tried to eliminate distractions and remain connected to people who inspire and encourage me. Another important part of my journey was my career as a member of Local 817 of the International Brotherhood of Teamsters, the union representing transportation professionals in the entertainment industry.
That job allowed me to work every day in the world of film and television while learning from some of the best professionals in the business. For twenty-four years, I worked on the set of Law & Order: Special Victims Unit, one of television’s longest-running crime dramas. Being part of that production reinforced my passion for filmmaking and gave me a front-row seat to the discipline, teamwork, and professionalism required to produce quality work year after year. Film and television have never just been jobs for me; they have been my life.
What advice would you give to filmmakers who are struggling to secure funding?
Today’s filmmakers have more opportunities than ever to raise money, but success still depends on preparation and persistence. Explore every possible avenue. Consider presales, apply for grants, launch crowdfunding campaigns, pitch your project to private investors, approach private equity firms or hedge funds that invest in entertainment, and continue building relationships within the industry. Most importantly,
develop a compelling pitch. Investors do not simply invest in ideas; they invest in the person behind the idea. If you have already completed a film, even a small independent one, it demonstrates that you can finish what you start. That track record gives people greater confidence in your ability to deliver. Never stop believing in your project. If you don’t believe in it, no one else will.
Do you think access to funding is getting easier or harder for emerging filmmakers?
In many ways, I believe access to funding is easier today than it was when I started. Technology has lowered the cost of filmmaking, and there are now more financing options available to independent creators. If you’ve already produced a film that has secured distribution, you’re in a stronger position because you’ve established credibility. Distributors and investors like to see a proven track record. I also encourage aspiring filmmakers to subscribe to film industry publications and stay informed about what’s happening in the business. Knowledge is just as valuable as talent. The more you understand the industry, the better prepared you’ll be to navigate it successfully. At the end of the day, filmmaking is about perseverance. There will always be obstacles, disappointments, and moments when you question yourself. But if you’re passionate about telling stories, don’t let those challenges stop you. Keep learning, keep creating, and keep moving forward. You never know which project will change your life.
To learn more about Paul, visit: Paul Eliacin | New York Filmmaker & 9/11 First Responder
Red PaSH Magazine is a lifestyle publication. Our slogan is “all your tiny obsessions.” We are strong advocates of self-love, self-care, body positivity and supporting minorities, especially women, people of color and communities not highlighted in mainstream media. Please send pitches to southernpashmag@gmail.com. Please note that we sometimes use affiliate links. If you purchase anything from a link we have provided, we may receive a small commission. This money is used to help support our efforts at PaSH Inc. Check out our sister magazine, PaSH Magazine and exploregeorgianow.com.