Today we’d like to introduce you to Bat-Sheva Guez.

Hi Bat-Sheva, we’d love for you to start by introducing yourself.

I was obsessed with creating worlds and telling stories from the moment I could first imagine a universe different from my own. It was never a question of whether I would grow up to make things, but more, what medium I would use to do it (writing, film, theater, etc). Most kids grow up playing pretend and then grow tired of it, but I never wanted to stop.

I just love MAKING things, and I especially love making movies. I love all the ingenious and creative ways that filmmakers solve problems, and the bizarre problems that they have to solve on the job. It’s the smallest things that make me giddy with joy – the fact that a viewer can be watching something breathtaking and beautiful, completely unaware that there is a member of the crew lying on the floor holding up part of the set, or passing the camera over to another member of the team, or there is someone on a ladder ready to drop feathers into the frame when I call “action.” To this day, I still laugh the hardest and smile the brightest when I am on set, or putting a film together. The rest of the time, my life can sometimes feel like it is in service of trying to get back to that high.

I started making dance-films in college, and lately have become known and called on to direct projects incorporating movement of the camera or actors or both. My work in dance and music has also brought me new opportunities directing for children’s television, which I adore since it is so uplifting.

I also write and direct world-building and magical films with complex characters. Stylistically, my films often look eerie – almost like a horror film – but they ultimately delight, bringing inspiration and hope to dark times.

I started out working as an editor because it was a way to improve my directing skills, and because it was a role that allowed me to be a storyteller. (The editor creates the final draft of the script in a narrative, and is a kind of “writer” of a documentary.) In between editing jobs, I built up a reel as a director, getting more and more directing jobs, and, now I alternate between the two roles: editing when needed, directing whenever I can, and often doing both on one project. I like that editing allows for deep, solitary focus, and I like how directing is so social and offers new adventures with each project. So it suits me to do both roles.

I also really love learning, and I find that there is no piece of knowledge that will not serve you as a filmmaker. Everything you choose to learn is relevant and useful, and the more knowledge you soak up, the better a filmmaker you will be

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?

The film industry is a project-based industry. That means, that when you’re working on a film job, you’re challenged and fulfilled, lots of people are relying upon you, and things can get intense and really meaningful, depending on the project.

And then, when that project is over, you go back to the silence of your home. No one needs you for anything. You are free, but also alone. It’s an incredibly taxing mental exercise. The work itself is all-encompassing and exhausting, but the in-between is too. Sometimes it’s hard to rest during these quiet times because you are so focused on trying to get the next job. I understand why there are the directors who tout the importance of meditation, because you need something to ground you when bouncing between these different extremes.

It’s also very challenging because sometimes 90% of the work is just pitching – trying to get the work. And that can be emotionally – and financially – taxing over time. It’s an incredibly competitive industry, made more competitive in recent years.

When I’m not booked on jobs, I am still in the chair at my desk for a minimum of 8 hours a day, writing, working on the next project, and pitching the ones that I have finished writing. The work doesn’t ever stop, even if I’m not getting paid for it.

I was reading a book about how few people ever get to find “flow” in their day-to-day career. “Flow” is that feeling where the world melts away, you lose sense of self, and the work becomes a kind of meditation. You become incredibly present in the single task at hand. But in this field, I find that flow is a regular occurrence. I get it when I’m writing, when I’m editing, and when I’m focused on directing. And for that, I’m incredibly grateful, despite all the challenges that come with it.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?

I am an award-winning Director, Writer, and Editor. I specialize in dance and movement. Most of my work has choreography involved – either working with dance, or with choreography of the camera through space.

I also weave magical realism into visually compelling, character-driven stories, and I love world-building in my work.

I’ve directed the pilot episode of Reading Rainbow Live, bringing back the beloved show to a new generation as a tv musical. I’ve directed a segment for Sesame Street, as well as over 20 short films that have screened in festivals and won awards worldwide. I also direct branded content for clients like Lincoln Center, JP Morgan, Conde Nast, Pfizer, and others. I’m currently directing a documentary for the Ellen Sinopoli Dance Company.

I’ve won many awards for my screenwriting and have a feature film and tv pilot in development. You can see more about my work at www.batshevaguez.com

We all have a different way of looking at and defining success. How do you define success?

Specifically focusing on career here, the ideal career success for me would be to get a job that feeds my soul, challenges me creatively, doesn’t keep me away from the people I love, and pays me enough to make my needs met – and then getting a bunch more of those jobs all year long!

To find life success in a project-based career like film requires an added skill: This is that of being able to look at and really see your past successes (including family, love, career, physical etc) and acknowledge and be grateful for them. It’s that balance between gratitude and ambition that can get tricky. It’s really easy to set a lot of goals and then beat yourself up that you haven’t achieved all of them. Most filmmakers I know have a packet of projects they are trying to pitch, hoping that maybe THIS IS THE YEAR they’ll get their feature film funded or sell that pilot. And it’s easy to feel bad about how hard it is without looking back and seeing all that they HAVE accomplished that year.

Luckily I have friends in my life who help me with the gratitude part, because sometimes I can get too caught up in what I haven’t achieved and forget to look back at what I have done. Still, maybe this is the year I will sell my pilot and get my new feature funded! For more info on those, send me a message. 😊

Contact Info:

• Website: https://www.batshevaguez.com
• Instagram: https://www.instagram.com/batshevaguez/
• Facebook: https://www.facebook.com/batsheva.guez/
• LinkedIn: https://www.linkedin.com/in/bat-sheva-guez/

Image Credits

Sean Junda took all the photos except for the one at Gotham TV Awards.

The TV awards red carpet photo was one was taken by one of my friends, but I don’t remember which.

There is also this photo available if you want to pay to license it:
https://www.gettyimages.com/detail/news-photo/kia-brooks-dallas-rico-and-guests-at-the-inaugural-gotham-news-photo/2155465503?adppopup=true