Janek Ambros Of Assembly Line Entertainment: 5 Things I Wish Someone Told Me When I First Became A Filmmaker
“Don’t write what you know.” Dramatically, I understand the expression “write what you know.” But the idea, I think, is taken too literally and suggests writing plots based on personal experience. I think the key is to read about things you’ve never experienced that an audience would find interesting.
As a part of our series called “5 Things I Wish Someone Told Me When I First Became A Filmmaker”, I had the distinct pleasure of interviewing Janek Ambros.
Janek Ambros’ films as a writer/director include the psychedelic comedy Mondo Hollywoodland (2019); Imminent Threat (2015), a documentary on the War on Terror’s impact on civil liberties executive produced by Oscar-nominated James Cromwell; Money, Fascism, and Some Sort of Acid (2020); and Ukrainians in Exile (2024), a short documentary on the Ukraine refugee crisis executive produced by Oscar-winner Janusz Kaminski. As a producer, his films have won awards at Venice, GLAAD, and Sundance, including the Sundance Grand Jury Prize in 2024 for In the Summers (2024), and have been nominated for the Indie Spirit other festivals around the globe. He founded Assembly Line Entertainment in 2012, a development, producing and financing company.
Thank you so much for joining us in this interview series! Our readers would love to get to know you a bit better. Can you tell us a bit of the ‘backstory’ of how you grew up?
I grew up in Albany, New York, and studied economics, though since a very young age I always wanted to work, in some capacity, in movies. My interest in politics, economics, war, and sports helped me use film as a way to get into these subjects, since I did so poorly in school. Movies were a way for me to get into topics I liked and then convey my ideas about these topics through the medium of film. While studying economics, I would write screenplays in my spare time, mostly out of necessity since I didn’t have money to make the movies being in Albany. I figured I could just write what I would direct. I then went to NYFA, which is an amazing school to just get equipment in the hands of young filmmakers and amazing teachers to guide them.
Can you share a story with us about what brought you to this specific career path?
As a teenager, I was going through a rough time and watched Shawshank Redemption. Having just watched The Green Mile, I assumed the ending to Shawshank would be depressing. (Darabont successfully tricked my 14-year-old self.) Of course, the ending was one of the most uplifting moments in history and it had a profound impact on me. I still often think of that moment as a catalyst for wanting to get into movies. Secondarily, on a more practical level of a career, I worked on a Japanese movie entitled Battle under the Orion in 2008. Working with the crew at a young age (even though I wasn’t paid), it was a formative experience and solidified my decision to work in film after college. I would go to NYFA soon after as a way to settle in the LA and learn how the industry works, from a creative and business perspective.
Can you share the funniest or most interesting story that occurred to you in the course of your filmmaking career?
The funniest and most interesting stories probably shouldn’t be for public consumption.
Who are some of the most interesting people you have interacted with? What was that like? Do you have any stories?
I took a position early on– while I was in my twenties — where I would (respectfully) bother as many of the gatekeepers to my heroes as possible to get advice, knowing that being a young filmmaker would give me some leeway. I was fortunate enough to talk to Francis Ford Coppola on the phone for about an hour. Coppola’s career has an enormous impact on me as I’ve always wanted to produce, have a company, direct, and write separately and independent of each other. His creation of Zoetrope is what inspired me to start my company, which I still work under, at age 22. His biggest advice was to “just go make things,” even if they’re “shot with an iPhone.” Two years later, after unsuccessfully raising money for several films, I would made my first feature narrative film as a director on my iPhone and with my friends.
I’ve been fortunate to meet many other admirers of mine and, honestly, every single one of them were incredibly nice, constructive, gave great advice, and some even ended up lending their names to my projects.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
Barbara De Fina and James Cromwell. They were the two first industry professionals to believe in me. My favorite movie of all time is probably Goodfellas so having that type of support from Barbara was crucial. She is, without question, one of the best producers in the industry for the simple fact that she produced one of the greatest films ever made; Casino. But she’s an incredibly kind person that helped me early in my career and she’s still gracious enough to give me advice when I need it.
James is someone I admire as he is very outspoken politically, aside from being a brilliant actor and one of the greatest character actors in the industry. As a director, I’d often put myself out there politically, and he gave me support by lending his name to my projects at a young age, which encouraged me to not lose that edge.
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
“It’s not the destination, it’s the journey.” Even though it may be the most trite “life lesson” quote,” it’s also the most true. The industry is incredibly outcome driven to the point where projects one works on can feel like just “a stepping stone.” If you aren’t enjoying what you’re doing in the process, especially in the film industry, there is absolutely no point to doing it. It’s, at the very least, worth telling oneself as a reminder to try to enjoy the process.
What are some of the most interesting or exciting projects you are working on now?
I just finished a campaign for raising money for Liev Schreiber’s co-founded BlueCheck Ukraine that was really important to me. I shot a short doc on the refugee crisis, and the short doc was used to help money.
I’m really excited about working on my next film Nixon’s Nixon, which I’m making with my two colleagues and friends. I’ll be directing the movie, which is adaptation of the brilliant play by the great Russell Lees.
Which aspect of your work makes you most proud? Can you explain or give a story?
Just completing a movie is enough.
What are your “5 things I wish someone told me when I first started” and why?
1. “If you have a decent amount of money for a short film, just try to make a feature.” I wish I had made a feature at NYFA. To be fair, NYFA encouraged this, but I kept making shorts. Shorts are great practice but don’t solidify yourself as a film director to the industry.
2. “Don’t write what you know.” Dramatically, I understand the expression “write what you know.” But the idea, I think, is taken too literally and suggests writing plots based on personal experience. I think the key is to read about things you’ve never experienced that an audience would find interesting.
3. “It’s okay to make a bad feature, especially when you’re young.” Raising a few thousand dollars and making a terrible feature film in your early twenties should be encouraged. No one will ever care if you made a bad movie in your early twenties and you will learn a lot and, who knows, maybe it will be good.
4. “Don’t work with irrational people.” The first signs you see of someone acting irrational, run. There are many bizarre people in the movie industry who can be a liability.
5. “Similar movies to yours that come out don’t matter.” Comparables are a good thing; root for the movie.
When you create a film, which stakeholders have the greatest impact on the artistic and cinematic choices you make? Is it the viewers, the critics, the financiers, or your own personal artistic vision? Can you share a story with us or give an example about what you mean?
The viewer. I’m trying to elicit a reaction (emotionally, intellectually, make them donate money in some cases). For my experimental films, I am mostly making those for me and hoping other people respond to them.
You are a person of great influence. If you could start a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. 🙂
I think, specifically, something I am involved in now, would be to help Ukrainians as they are being bombed and invaded by Russia. Please donate to: www.bluecheckukraine.com
We are very blessed that some of the biggest names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world, or in the US whom you would love to have a private breakfast or lunch with, and why? He or she might see this. 🙂
Sir Christopher Nolan because I am doing research on Truman and need research recommendations.
How can our readers further follow you online?
On instagram: assemblylineent
On twitter: janekambros88, assemblylineent
This was very meaningful, thank you so much! We wish you continued success!
About the interviewer: Guernslye Honoré, affectionately known as “Gee-Gee”, is an amalgamation of creativity, vision, and endless enthusiasm. She has elegantly twined the worlds of writing, acting, and digital marketing into an inspiring tapestry of achievement. As the creative genius at the heart of Esma Marketing & Publishing, she leads her team to unprecedented heights with her comprehensive understanding of the industry and her innate flair for innovation. Her boundless passion and sense of purpose radiate from every endeavor she undertakes, turning ideas into reality and creating a realm of infinite possibilities. A true dynamo, Gee-Gee’s name has become synonymous with inspirational leadership and the art of creating success.
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