Tell us a bit about your organization and what your specialty is in the film and video space.

New Royalty Films is an independent production company that merges cinematic scale with indie spirit. We believe that there is no better time than the present to create change, and that work should be fun, safe, and inclusive. We know that it takes a village for a project to come to life, and no role is insignificant. At a time in our industry when there is considerable confusion about what lies ahead, we remain a company that continues to champion and fight for the human experience and films made by real people.

What is your organization’s ethos and how does it set you apart from industry competitors?

Our ethos is rooted in creating sets where every crew member and cast member feels valued. It’s important that filmmaking feels fun and safe, because we really do have the best jobs in the world. We believe fiercely in education. Our most significant achievement is that New Royalty consistently achieves high production value under indie constraints. No matter what the budget, we are solution-oriented to ensure projects can be brought to life, so that art of all budget tiers can be seen.

How can people join or learn more about what you do?

You can find us at www.newroyaltyfilms.com, or @new.royalty on Instagram. We are in the process of redesigning both our website and instagram, so hang tight for new content.

Tell us about your Telly Award winning piece. What’s the story behind it?

I trained as a Second City Improviser and was in their directing program until COVID hit, so improv has always held a very special place in my life. “Death And”  is a horror-comedy about an improv troupe that gets abducted and is forced to play improv games to the death. If they lose, they die. It’s obviously quite absurd, and that was always the point, but underneath the the campy gore is a movie about friendship. Having made it with some of my best friends, (and my actual improv team), it will always be a piece that feels like a love letter to the community that shaped me.

“the lobby”, is a music video that is dual breakup anthem and commentary on Hollywood. It pushes back against the idea that only fame grants value or visibility. That narrative simply isn’t true. We set out to prove that on a small budget, we could recreate iconic sets and parody major films, showing that Hollywood doesn’t get the final say on what stories matter or who gets to make them (all while having a little breakup fun along the way).

What are you most proud of about this piece? What was your biggest challenge during production and how did you solve it?

My mantra with filmmaking is “pivot, don’t panic,” because things rarely go as planned on set. There’s always something. On “Death And”, we lost nearly seven hours of shooting time over three days due to a faulty overhead lighting system. It was brutal. There were stylistic shots I wanted but simply didn’t have time for. Instead of believing the project was ruined, I pivoted. That’s where technical knowledge becomes essential, because you have to know what time-saving alternatives exist. You just have to stay focused and know no matter what, you can get it done.

For “the lobby”, we faced similar time constraints. The entire music video, with all its world-building and parodies, had to be shot in two days. I’m forever grateful to our director Daniel Cho, who worked side by side with me in prep and executed the concept so beautifully. This video was extremely personal, and it reinforced why choosing collaborators who are equally passionate matters so much; it truly makes all the difference.

I’m most proud that both projects, despite the odds, not only came together but went on to be award-winning and loved by audiences.

Do you have any advice to other filmmakers based on your career or your team’s approach to work?

Be fearless in what you love and don’t give up. Filmmaking is not easy, and it comes with a unique set of challenges, but that’s also what makes it so exciting. Each time you get better, and it’s extremely important to surround yourself with collaborators who believe in what you’re trying to do. Don’t be afraid to fail, and when you face rejection, get back up and try again. That’s what it’s all about.

Can you share a behind the scenes story or fun fact about the making of your piece?

Both projects were initially met with hesitation, comments like, “I don’t know if this is a good idea,” or “I’m not sure people will understand this.” But we trusted our instincts and made them anyway. In the end, both “Death And” and “the lobby” went on to become award-winning, well-received projects that showed the value of trusting your intuition, and original stories still matter in this industry (even if they are unconventional). The truth is, most of the time people aren’t going to “get it” until a project is made, so you have to give it all you’ve got and go for it. Fight to show people why it matters. That’s what makes a great artist and filmmaker.

Tell us about the most memorable response you got from this work.

One of the most memorable responses came from a festival review of “Death And”, where my work was compared to both Quentin Tarantino and James Gunn. As a kid, I dreamed of directing big blockbusters, so to see my name alongside theirs, especially as a female director, was a moment I’ll never forget. It reaffirmed my belief that taking creative risks in indie filmmaking can still resonate on a large scale, and you can’t let budgets or restraints scare you into not trying.

“the lobby”, was applauded for how we were able to merge all these cinematic universes together. It was very intentional, and it captured exactly what we intended to do, so to have audiences identify and resonate with that was very rewarding.

Complete this sentence: ‘Great video storytelling is…’

… when you fight for what you believe in, and against all odds, make it anyway.