Hispanic Heritage Month reminds our community of how ingrained Hispanic influence is in contemporary creative industries and our culture. One leader in film production is Cynthia Ángel, a filmmaker and owner of D L A Films, based in New York City.
Raised by her Colombian immigrant parents, the Queens-borough native grew up with a love for storytelling that centered on immigrant, Latinx, and Indigenous communities. That early passion for stories translated into a career in filmmaking, once she left college. Ángel broke into the film industry as a production assistant for a VFX company before being swiftly promoted to production manager. Soon after, Ángel pivoted to commercial production. The Latinx filmmaker has won multiple Clios and Cannes Lions for her campaign work for Spotify, Google, Nike, VEVO, and Amazon.
Yet, in 2020, Ángel’s desire to expand into longer-form storytelling led her to found her own creative studio—D L A Films. The BIPOC-and woman-owned production company champions diversity in front of and behind the camera, partnering with forward-thinking brands, genre-defining artists, and the brightest creatives, such as Puerto Rican reggaeton sensation Bad Bunny. Ángel is currently in post-production on SUN, D L A’s first feature-length film project.
You can check out more of Ángel’s work here on Creatively and @hellocreatively on Instagram.
What is the first creative project you remember?
My third-grade science project. I was fascinated with the planets, the universe, and the vastness of space. We had a week to complete our solar system. My parents are Colombian immigrants who worked two jobs to make ends meet, meaning they’d arrive home late every day, usually past our bedtime. Every night that week, I patiently waited for my dad to come home to help me with the project. I’d show him my progress and translate my notes. He knew about the solar system from school, so he’d give me suggestions on how to improve it. We created the planets from different materials like styrofoam; the earth was made from a handball, and the sun was a glow-in-the-dark rubber ball I stole from my sister. I painted the planets meticulously. It’s a memory that I am sure many of us can relate to but what makes it so special, in retrospect, is that my father, as tired as he was, worked with me to make the most beautiful solar system with enthusiasm and delight. I’ll never forget how much he encouraged my interest in science. The dedication to school projects my father inspired later turned into dedication to my productions.
Describe your aesthetic in three words.
Timeless. Queens. Chic.
What was the most fulfilling collaboration you’ve worked on?
I didn’t go to film school. Coming from a working-class background and public school, becoming a producer was not in the realm of possibilities. I loved movies and fantasized about being Clarice in Silence of the Lambs. So, I went to John Jay College and studied Forensic Psychology. The reality of that career was morbid, and I discovered my real passion for filmmaking while taking an elective drama class. Once I graduated, I got an entry-level position at a VFX company where I worked double shifts to learn as much as I could about production. I worked my way up the ranks, and after a few years, I was able to go freelance and work for production companies. After a year, I received a call from the American Museum of Natural History with an offer to be the associate producer for the Hayden Planetarium space show. This was very exciting for me, an organic continuation of my childhood fascination with the universe. The icing on the cake was that I was also offered the opportunity to produce the pre-show, which would play before the main attraction, all by myself—my first real producer credit! I visited the museum before accepting the job because I wanted to make sure that I would be able to bring my perspective to the table and make something unique. The previous pre-show was a rote photograph and text slide show, which did not engage visitors. I knew I had to change that. Extremely excited about the prospect of creating something new, inspiring, and cinematic for the pre-show, I accepted the job. This was my first production from concept to execution. I assembled the creative team and crew and managed every aspect, including post-production. Taking inspiration from Close Encounters and ET, we created a 10-minute short film that introduced the concepts explored in the main show through a young girl’s nocturnal interaction with magical objects in her bedroom. We worked closely with Neil de Grasse Tyson and Carter Emmart on scientific accuracy. We secured Neil Davidge from Massive Attack to provide the score. Our crew was stellar. The budget was tiny, but so many friends, vendors, and partners supported us. Our team created something impactful and cinematic that inspired all the visitors who visited the planetarium. The President of the Museum asked if I had hired Steven Spielberg after she first previewed it. Watching the pre-show for the first time in front of my family and an audience was priceless. The film played alongside Dark Universe 13 times a day for seven years, making it the most viewed piece of content I’ve ever produced.
What’s one creative project that taught you something fundamental about yourself?
Every project has a lesson. Once production freelancing was no longer a challenge I went in-house at a tech company where I became the in-house producer. I was now the client. I had the opportunity to bring many projects to life with A-list musicians and artists, often on extremely tight budgets and timelines. I pulled off many miracles to bring these projects to life. Mine was a desirable position but my heart was longing to be making my own projects, so at the end of 2019, I left the cushion of my corporate job to produce my first indie narrative feature film—SUN. SUN is a horror film that takes place over the course of one night in NYC. We had a micro-budget and a grueling schedule full of overnights. It was challenging! But I leaned into my resilience and strength as a thoughtful creative leader. Together we achieved so many feats. Many people on our team were shocked that I was able to source locations, manage to cast, and lead wardrobe styling on top of producing the film. We assembled a mighty crew and managed to shoot on 35mm film. This film has been my biggest accomplishment. I learned that my perseverance and passion for what I do is magical. I also learned that sometimes things don’t go as planned and that is okay. In film, we are trying to control an uncontrollable universe and sometimes you have to trust that the universe will take care of you! You can’t let fear dictate your decisions. I took a risk but I stuck to my vision and my dream. Of course, the pandemic caused a delay for us in post-production, but we are now getting ready to release the film!
Do you think creativity is something you’re born with or something you’re taught?
I think it’s a combination. I believe all humans are born with imagination and have the ability to dream, but it’s like a garden that needs to be nurtured in order to flourish. When my dad sat with me after a long day of work to help me with my creative projects, it showed me the importance of commitment and teamwork. When my aunt brought her film camera to document our family gatherings, it showed me the importance of storytelling and documenting life. When I didn’t have access to media or creative classes in high school, my growth in my creativity paused. There were moments that sparked my curiosity, but I didn’t have enough access to the tools to explore them fully. I had an interest in film and photography, but this didn’t flourish until I attended college and took an elective class. It is for this reason that I decided to start my own company and be the inspiration that I needed growing up. I am building the kind of company I wish I knew about as a kid and wanted to hire when I was on the client side. I’m creating a place where diverse leadership matters and my rich culture permeates every aspect of a project. I sometimes pinch myself because I get to work with so many talented creatives from all walks of life, and, most importantly, I have the opportunity to give opportunities. It’s something I want everyone to have access to.
What’s the last dream you had?
It was strange. I was on a futuristic rooftop that had a pool and a woman was hanging out as the sun set while having a drink. The woman felt an alien creature float into her body. The creature was trying to find a way to get out. The woman could feel the sensation of something swimming inside her. This caused her to get up and move in a strange hypnotic dance. As she moved she wondered to herself what the creature was. Suddenly the creature came flying out of her ear and she caught it in her hand. And then the setting changed and I was directing Billie Eilish on a set with a motion control camera. Strobes began firing and I directed Billie to dance in the same hypnotic way as the woman did. As she danced her outfit changed many times with each change becoming more futuristic and avant-garde seemingly illustrating the passage of time. Billie mastered the choreography perfectly and I called out “cut.” Then I woke up.
One hundred years from now, what do you hope people write about your work?
I hope people will write about my legacy and the impact that I’ve been able to achieve through my work and my company D L A Films. My mission is to spread joy through filmmaking, uplift others, and create beautiful and meaningful stories. I want to inspire the next generation. I want to open the door for those who don’t have financial means or access to creative pursuits. I want to show people that it’s not impossible to chase a dream as long as you’re persistent and true to your vision. Storytelling is the oldest form of education and I want to nurture and create an environment where that is celebrated and passed on for generations to come.
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