AWD Icon Members work extensively in feature films, television, commercials, music videos, and/or new media. They have not only shown exceptional skill and/or received substantial acclaim, but are also advocates for AWD’s mission for parity in the entertainment industry.
AWD Icon Member JEN McGOWAN burst onto the film scene with the dramedy feature KELLY & CAL, which won the Gamechanger Award at SXSW. Her second, RUST CREEK, was hailed as “the feminist thriller Hollywood needs right now” by Harper’s Bazaar and made the top ten in 40 countries on Netflix. Segueing into episodic directing, Jen has helmed episodes of Star Trek: Discovery, Titans, and The Twilight Zone, among others. She was recently nominated for a Women Image Award for Series Director for helming the Star Trek episode, “Mirrors.”
Jen talked with AWD about what inspires her, what she wishes she knew earlier in her career, and what she sends the Producing Director and Showrunner after she wraps!
AWD: This feels like a full-circle moment—your last feature in the AWD spotlight came after your Star Trek episodic debut, and now you’re back with a Women Image Award nomination for Series Director for your latest Star Trek episode. What has changed for you professionally and personally since that last spotlight?
JMcG: Goodness, so much. Professionally I was on an incredible streak in television before the industry contraction and strikes. At this moment, like many others, I have not worked in tv in over a year. I am very lucky to benefit from the excellent residuals in the DGA contract but I’m really saddened by the progress I could have been making in my tv career that is just gone. I have been working on a couple features I love with excellent scripts and wonderful Producers so I’m very grateful to have those. I’ve felt tv meetings starting to pick up this past month. I’m hopeful for 2025.
I’ve also kept myself busy Co-Chairing the Squad program at the DGA which is a mentorship and enrichment program for mid-career women-identifying Directors.
Personally, also a ton. I lost my mother. I gained a new dog. I fought in my first USA masters boxing match in Las Vegas. Actually, that was just this year. Oof. It’s been a lot.
In your nominated episode, what resonated with you creatively and how did you approach translating those ideas on screen?
In the script, “Mirrors” written by Johanna Lee and Carlos Cisco I was very drawn to the relationship between Captain Burnham and Rayner as well as the relationships between Moll and L’ak and Moll and Booker. There was so much there to play with emotionally and also some really cool set pieces in terms of stunts and world building on the LED volume wall. For me, I’m always attracted to material that resonates with me emotionally, that I agree with politically and that has something fun to do in terms of visuals and craft.
What do you believe has been the key to your success in being invited back to direct Star Trek repeatedly, and how have you continued to build trust and collaboration with the cast and crew?
I don’t know for sure, this really is a question for those who hire. But I think it’s because I have consistently turned in work that is of a high quality that the Showrunner, network and audiences love. I do that work on time and on budget. And, I assume, the Actors liked working with me. Also, I think I was really suited to the type of working environment created by the Showrunner Michelle Paradise and the Producing Director Olatunde Osunsanmi. It has been my favorite place to work. Oh and I was available! Seriously though, I’m pretty proud of the fact that every show I’ve worked on has invited me back. So whatever it is, it seems to be working so far.
The industry has seen major shifts, especially with the current post-strike environment. How has this influenced the way you navigate directing and storytelling in this ever changing landscape?
I don’t think that it has. It’s certainly changed how hard I and my reps have to work to get me hired. And we shall see, I suspect when I get going again in tv I may find smaller budgets and shorter schedules but we just always have to do the best we can with the tools we have access to at any given time.
You remained actively involved with RUST CREEK after post-production by attending screenings, press events, and more. What do you think directors miss by stepping away from a project once it’s finished in the editing room? How has staying engaged shaped how you approach your current projects and opportunities?
Every Director is different and I would never suggest how another Director should do anything. But for me, I make movies and tv for the audience. Every piece is a conversation with an audience. I am not interested in making things that are not seen.
And the audiences reaction is hugely important to my learning how to better communicate. I do not believe my job is not just to direct Actors, images and sounds. My job is to direct an audience. Their attention, their emotions, their reactions, their thoughts. That’s what I’m interesting in directing. And you cannot tell if you were effective in that without seeing their reactions. That’s one of the things I especially love about movies – sitting in a room with an audience and feeling them react.
I also believe that making a film, making a film well and making a film successful are three entirely different things that frequently have nothing to do with one another. So it’s important to me to work hard at all stages. Perhaps someday a time will come when that’s not necessary, but until then, I’m in.
How do you stay creatively inspired and continue pushing boundaries in your projects?
I find being aware of the world around me is all I need to get inspired. I like my work to be generally timeless but relevant to our current times so I am a news junkie. I also get really inspired by my daily life. People fascinate me and I get hugely fixated on moments when I’m directing. Plot and story are like eh, ok, cool, great. But a glance, a pause, a breath, those hold my attention. Big visuals and intimate moments keep me super stimulated and challenged. They are what I live for.
Over the course of your career, how has your definition of success as a director evolved? Is there a moment or achievement that shifted how you measure your creative fulfillment?
Oh jeez yeah. When I did my first feature film that won at SXSW I thought “cool, here comes Hollywood!” and it was crickets. I had to do another feature, which didn’t get into any big festivals but eventually hit pretty big on Netflix. It was only then, a fun year after the film premiered, that I even got real representation. That was a serious expectation check.
Now, I feel very successful exactly where I am. I make a living as a film & TV Director. That’s completely amazing to me. Especially given our ridiculous industry and where I started. I am healthy, I am safe, I have a family I adore and get projects that are interesting. That’s kind of the dream.
All I ever want is to make things that I feel proud to put my name on. Ideally with people who are good partners. And I want to be able to continue to pay my bills. That’s all I want. And I have that. Honestly, my career feels like a fricken miracle given the state of the business.
Ok, I would like a bigger audience reach and to shoot more frequently but everyone needs something to aim for!
Looking back at the various projects you’ve taken on, is there a particular film or episode that you feel best showcases your directorial voice?
I think my work is really consistent actually so no, there’s not one that sticks out.
What’s something about the industry—whether about directing, producing, or distribution—that you know now but wish you had understood earlier in your career?
The best thing you can do is be the most authentic, best version of your specific self. I sort of did that but I didn’t really know that’s what I was doing and I think understanding that earlier would have been helpful. Your experience, your sense of humor, your weird tastes, etc are what you should lead with. Just do what makes you happy, what you enjoy. Lean in to you. Whatever that is. Unless you’re a jerk, then don’t.
Having navigated the industry through various leadership roles, from directing to founding FilmPowered/Glass Elevator, what are some surprising insights about the film or TV industry that you’ve encountered in leadership roles that you feel are still misunderstood or overlooked?
Powerful people are not always brave people. And many people, especially when their power is at risk, do not practice what they preach. I know I am naive in this but I find that incredibly disappointing. But everything is information. The key is clocking the information and moving forward without getting defeated.
As an Icon Member of the Alliance of Women Directors, how do you advocate for and support women in the directing field?
I have shadows on every job I do that allows me. I volunteer within the DGA. I’ve mentored within AWD through the Black Directors Achievement Initiative and #MentorLatinaDirectors Fellowship. Anyone that follows me on FB or Bluesky knows I speak up constantly about the issues in our industry that relate to women generally and women Directors specifically. I also try to promote women’s work wherever I can. There are smaller things too like whenever I wrap a show I send my Producing Director and Showrunner a list of other women Directors I think they might like. And I always make sure that list is at least half women of color. The good thing about this being such a massive problem is there are a million ways to contribute to fixing it. Big and small. And it’s extremely important to me so it’s a daily consideration.
Are there any upcoming projects or collaborations you’re excited about that you’d like to share with AWD?
I have a couple films I’m excited about but nothing that I can share publicly just yet. Don’t worry, when I can share everyone will know! ;)
Thank you Jen for all you do!!! You a great advocate and role model.