Alright – so today we’ve got the honor of introducing you to Daniela Mileykovsky. We think you’ll enjoy our conversation, we’ve shared it below.
Daniela, looking forward to hearing all of your stories today. What do you think matters most in terms of achieving success?
To be a successful creative I think you need to have curiosity, stamina, and self reflection.
You have to have a wonder for the world. You have to be curious enough to ask questions, have a desire to learn perpetually, and a zest for experiencing life. Experiment with new foods, new hobbies, travel to different places, collect all the data of the world that you can. Any experience that stimulates one of your 5 senses can cause an emotional response that helps us connect to other people and in the end helps artists connect to their art form. I am personally a foodie with a serious case of wanderlust. I used to be the pickiest eater, and now I will try anything a chef puts on a plate. All the cultures I’ve encountered from experiencing life as a local when traveling have shown me the depths of how people think and feel and where they’re coming from. I have had so many hobbies I’ve tried that seem irrelevant to my career, but there’s always an aspect that relates. Painting helps me understand light and composition, cooking or mixing cocktails serves my intuition, woodworking teaches me precision, gardening shows me the process of trial and error, etc.
You have to have stamina to put in 100% in everything you do. Even when the budget is not up to your standard, and you sign on to a project, you have to give it your all. You never know what it can lead to. I see it as a challenge for myself. At the end of the day, my name is on the project, so why not present myself as best as I can no matter how insignificant the project seems at that moment. There may also be obstacles that seem difficult to get through. When I was first starting out, I was extremely shy and quiet, in a career based all on networking, and getting work through word of mouth. I didn’t let that stop me from getting out there. Let me rewind back for a second. My career began in 2014 when I was able to save up enough money doing tedious post production work to buy my first cinema camera. The job was over 100 hours of work, sifting through 10 hours of footage, frame by frame, pulling green out of a man’s glasses which was reflected by the green screen behind him. Talk about Stamina! Before I even had my first car, I used my paychecks to buy the Sony FS700. From Baltimore, I took a train, 2 buses, and walked a mile to a woman’s house in DC, who I found on craigslist. She turned out to be an executive producer, and after chatting with her for two hours, she decided to introduce me to my mentors. Those mentors invited me to set, though unpaid at first. I was nervous and I brought my little mirrorless a7sii with me on every shoot, taking behind the scenes photos of the crew. I always brought my little mirrorless anywhere I went, it helped me feel comfortable in social settings, and it helped me explore my curiosity. I always shared those still frames with my mentors and people on set, and I think people started to see something in me. One year I was working as a camera assistant for Playboy, we were filming a John Waters Christmas Special. I brought my stills camera and took a bunch of behind the scenes frames which I shared with the producer, and they ended up buying a few of the shots from me for their website!
From there, I showed up to anything I was invited to, and took every opportunity. I owe a lot to Martin Whittier, RIP, who allowed me to come to his rental house, Charm Cine, several times a week my first year in the business to learn how to set up professional camera packages and play with all of the accessories. Also when I was a production assistant, I was always the last person to leave set, even when dismissed early because I wanted to take any opportunity to ask professionals questions in the down time while helping grips load out the very last sandbag. Looking to where I am now, I still put in my 100% on every project. The current struggle is balancing when to let go of my idea of what’s right to find a compromise when the client is not on the same page. I am still always learning. This career is very chaotic, working in multiple genres, with different personalities, projects of different calibers and sensitivities. It’s taxing being in the middle of the producers budget, the director’s vision, the crew liaison and protector. There is a lot of effort that goes into adapting, but just enough to still hold your integrity.
You have to have the ability to look back and see what could have been done better. You can’t learn without reflection. I was constantly asking my mentors, “what could I have done better today”? Every day is an opportunity to learn to be better whether it’s technically, socially, creatively, etc. I have always had a desire to surround myself with more experienced people who are willing to tell me the truth without sugar coating. I’ve been developing a thick skin since I was a child with immigrant parents so for me, this is the norm.
I just wrapped up on a personal short film project. Personal projects are always the biggest learning experience of all, because everything is in YOUR hands as a filmmaker and it can be a lot of pressure when a lot of people are helping to create your vision. I chose to make this experience as close as possible to how it would be handled if I was a Hollywood director/cinematographer with a big budget so that I could understand the larger scale process. At the end of the day, working as two department heads, there is a lot to be aware of and a lot of careful planning. I trust the professionals on my team to help carry my vision through. It’s always hard to reflect when you’re in the thick of it, but I’ve sat down with department heads to chat about what could have been done better after production. I can not be a master at every position, but I need to know how I can help foster better communication and improve circumstances for the next project.
Another aspect of self reflection that I personally struggle with is imposter syndrome. It’s easy for me to point out all the mistakes I made, but it’s harder to appreciate what was good. I learned this was affecting me as a leader as well. Since I couldn’t tell myself what was good about my work, I didn’t tell others what was good about theirs either. As I was coming up in a leadership position, I was taught a hard lesson about forgetting to encourage my crew and let them know they’re doing a good job, when they’re doing a good job. Positive reinforcement with your team is just as important as bringing up your own morale. Overall self reflection has helped me analyze the good and the bad, and I think acknowledging both sides aids in the growth of a stronger leader.
Daniela, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
My name is Daniela Mileykovsky, I am a director and cinematographer. I work on many different genres of filmmaking including: narrative films, music videos, documentaries, commercials, corporate videos and TV shows. I love using movement, color, texture, and lighting to enhance the emotional resonance of the characters and story being told.
My journey into filmmaking was shaped by my background as a first-generation American with Jewish refugee roots from Uzbekistan. As a child, grappling with English as my second language, I found solace in expressing myself through visual art. Initially I was drawn to drawing and painting as forms of communication, but my path took a turn after watching Darren Aronofsky’s “Requiem For A Dream.” The film’s haunting visuals left an imprint on me. For months, I found myself unable to shake the imagery from my mind, that’s when I decided I wanted to tell impactful stories through motion pictures. To this day, my personal projects are all shaped by stories that involve communication expressed without words and with stylistic camera and lighting choices that push the story forward .
In high school, my aspirations found validation when representatives from various universities visited, including the Maryland Institute College of Art. Learning about the existence of schools dedicated to the arts moved me to tears because I had discovered a sanctuary where people like me—those who pour their souls into art—could flourish without fear of judgment and with encouragement to create. This realization fueled my determination to pursue my passion and carve out a space for myself in the world of visual storytelling.
To prepare for college I began building my portfolio by experimenting with video and film photography. I filmed my first short film my junior year in highschool with a Canon XL2, back when DV tapes were popular. In college I worked in the video cage, which gave me the opportunity to learn all of the equipment at the school. I also began to take on any small freelance opportunities as a videographer while filming my own projects. Once I graduated, I continued to take small jobs as a videographer until I met my mentors through executive producer Elizabeth Elson, who I had purchased my first camera from. My first mentors were Stephan Weisen and Dennis Boni; they trained me as their camera assistant and brought me on many shoots. While I was working my way up the ladder, working almost every crew position along the way, I was constantly telling people I want to be a cinematographer. People respected that and many helped me get there by throwing small opportunities my way until I did get there. Now I am a full time freelance cinematographer and director.
As a director it’s my job to create a vision for the project and bring it to life within all departments. As a cinematographer it’s my job to carry out the director’s vision by offering creative and technical solutions all while managing the camera and lighting crew as a department head, also often working with the production designer and sound department. Sometimes I wear both hats on the same project!
One of my favorite scenarios as a cinematographer is when I collaborate with a new director who trusts me to assist in creating the shot list. I thrive in these situations because I enjoy contributing my ideas to our creative collaboration. Some of my favorite instances were when I was working with Yvette Nicole Brown and Vivica Fox on their directorial debut episodes on a BET network series about mental health in black communities. The best feeling in the world is feeling in sync with your collaborators and feeding off of each other’s ideas, and that’s what happened during these projects.
As a cinematographer, to understand the nuances of the director’s vision, I immerse myself in research that touches all my senses. For example, when working with new director Alvan Obichie’s short film “Homecoming”, a story about a Nigerian highschool teacher, I ate Nigerian food, I listened to Nigerian music, etc. I approach each endeavor with a sense of curiosity and empathy so I can help the director consider how to best translate their vision. For me, this is not homework, it is an opportunity to celebrate the richness of the human experience. Getting to know Alvan as a person along the way has been another rewarding part of the process. To me, these projects are not just a job, they are a way of feeling connected to people and the world. That is the environment I strive to create. Moving forward, I’m excited to continue pushing boundaries, exploring new narratives, and fostering meaningful connections through the art of storytelling.
Let’s talk about resilience next – do you have a story you can share with us?
After graduating from a fine art school in May of 2014, from a nascent film/video program, I found myself navigating a path without clear career guidance. Determined to break into the film industry, I hustled, taking on any editing or videography jobs I could find, even scouring Craigslist for opportunities.
That summer, a routine day ended up changing the trajectory of my life. Exhausted from one-woman-banding a music video shoot, I hauled all of my equipment up three flights of stairs in one go, only to wake up with a sore knee the next morning. I was 21 years old, and I thought I was invincible so I continued ignoring the pain for months. I persisted until it spread to other joints. At this point, a simple task like walking caused intense pain so I finally went to the doctor. Dozens of blood tests later, I was diagnosed with Rheumatoid Arthritis. I thought my career was over before it even began.
The only solution the rheumatologist offered was medicine which had many common short term side effects, but the one I was most worried about was the 1% chance of going blind in the long term. I refused the medicine, and in the spring of 2015 the pain miraculously subsided, just in time for me to buy my camera and meet the mentors who helped my career lift off. By 2016 I was working as a freelance camera assistant and had been established in the Baltimore/DC area with regular clients.
But resilience isn’t a one-time act—it’s a journey. In spring of 2018, a resurgence of my condition coincided with a scarcity of work opportunities. My knees and elbow flared along with a new addition, my jaw. I could barely walk or chew food. A few months went by and I wasn’t getting enough work to sustain myself until I got a call from Sheila Smith, a local female cinematographer that I had aspired to work with. She brought me on as her camera assistant on a two week low budget feature film. I bought two knee braces, hid them under my jeans and got to work. Part of my job as a camera assistant was to move heavy equipment, unfortunately for me our filming location was up several flights of steep stairs. I was ashamed of letting anyone know what was going on with me in fear I would be judged and not given a chance to prove myself as a young filmmaker but it was impossible to hide the severe pain. After work a few days into the project, Sheila reached out because knew something was up. She pulled the truth out of me, but I had a lot of pride at the time so I begged her not to treat me differently. She understood and found ways to let me do my job without carrying all of the equipment up and down the stairs on my own.
After the feature film wrapped production, the absence of work opportunities loomed larger than ever. Concerns gnawed at me—did word spread about my condition, were people reluctant to hire me? Just as doubt began to cloud my mind, an unexpected email from Johns Hopkins Applied Physics Laboratory popped up, it was a full-time cinematographer position.
The prospect of stable employment with health insurance clashed with my deep-rooted love for the freelance lifestyle. At the back of my mind, I also had pressure from my family to have a stable job. Deep down, I knew that sacrificing my autonomy by being tethered to one place, with limited prospects for advancement creatively, educationally, and financially would be stifling and ultimately breed discontent, so I declined the offer.
Again months went by with little work. I used that time to figure out how to get back in remission. I researched many different diets and exercises. I found that my sweet tooth wasn’t doing me any favors so I dropped added sugar and picked up yoga. It was life changing. I went back into remission and from then on I knew how to stay there.
In the fall of 2018, Sheila had recommended me for a documentary travel show called “Our American Story” for Voice of America. After several weeks of emails and interviews, I was signed on for an entire year as the cinematographer for the show. At that moment, I felt that all of my decisions were worthwhile. I was so grateful I passed on the full-time job at Johns Hopkins.
A few months into the show, I was entrusted with an additional role: directing half of the episodes, in addition to my ongoing work as the cinematographer. 2018-2019 marked a turning point in my career. Working on Our American Story allowed me to have the freedom of expression, to learn and grow, and to advance in my career as a cinematographer. I was so busy, I found myself in a position to be selective about side projects, allowing me to build my reputation in the industry. As the show drew to a close, I came out with a new network of contacts, a robust cinematography portfolio and a wealth of experience under my belt. I was able to seamlessly transition into a full-fledged cinematographer, marking the end of my days working as a camera assistant. This opportunity solidified my place in the industry and laid the foundation for future success but I had to know my worth and believe in myself, in order to not settle for less even in the most difficult times.
For you, what’s the most rewarding aspect of being a creative?
One of the most rewarding aspects of being creative, for me, is undoubtedly the sense of camaraderie. In the often solitary world of freelancing, where each day brings a new set of faces, building deep and meaningful connections can be difficult. Working in the Baltimore area, I frequently collaborate with production companies from major hubs like LA or New York, where the full-time intensity of their work can make it hard to build relationships. Yet, amidst the transient nature of freelancing, there’s a beauty in the relationships we are able to cultivate. When you find your tribe, those individuals who not only share your passion but also uplift and challenge you, it’s truly special. They become more than just colleagues; they become your chosen kin, propelling each other forward and offering support.
What’s particularly remarkable about the freelance lifestyle is the downtime it affords us to pursue our passions beyond work. Camila Franco Ribeiro Gomide is someone I frequently collaborate with. Last year we were filming a series of visuals for her collection of poems. Some of my favorite occasions were the days she would call me up the night before and ask if I was free to go run and gun shoot with her Bolex at sunrise in the forest and then we’d grab lunch after and share our life stories. She also produced my short film, she brought me on as her cinematographer for a music video she was directing and now we are working on collaborating on her short film passion project. Whether it’s working on personal creative projects or supporting others in theirs, there’s a shared understanding of the ups and downs in the creative process.
Take, for instance, my recent directorial debut with my short film “Just A Little Longer.” The outpouring of support from my local community was overwhelming, with friends and colleagues generously contributing their time, expertise, and resources to bring my vision to life. And in return, there’s immense satisfaction in reciprocating that support, whether it’s helping a friend achieve their goals or ensuring the satisfaction of a client.
The true testament to the power of camaraderie came unexpectedly during the filming of my first feature film in Connecticut. I had initial apprehensions about working crew that I had never worked with before. The night before the first shoot day of the three week feature, I broke the ice by cracking a brand new bottle of scotch in the production office toward the end of the camera team prep. Throughout the shoot, I felt a strong drive to take care of my crew and took on a bit of a mom role. I always wanted to make sure everyone got home safe at the end of a long day, that everyone was eating well, and I always brought extra wool scarves to set to make sure my team was dressed warm during the freezing cold winter exterior shoot days. The locals often came out to dinner with me, and planned activities on the weekends like bowling or hiking. We sang free styled songs in the backyard of the crew house, we played poker, we shared our hobbies and interests. We came back to set on Mondays looking forward to the day, cracking jokes on the coms, doing crew yoga during lunch breaks, all while doing our best to create art together. Unfortunately at the beginning of the final week of production, I was diagnosed with covid. It was the worst news I could receive at the highest of highs. I knew I was going to miss the crew but the show must go on so I briefed the camera team and gaffer about the plans for the week. My gaffer kept his com in one ear and kept me on the phone with his bluetooth earpiece in the other for many hours of each of the remaining days. My camera team was also calling and texting me with photos of the monitor to make sure that they were accomplishing what I had planned for. After work, the crew would always check up on me and ask if I needed anything like food or medicine to be dropped off.
It was one of the most heartwarming experiences of my life to be so supported by the crew, especially at such a hard time. If that isn’t family, I don’t know what is.
Another rewarding aspect of being creative is the fulfillment that comes from witnessing your vision materialize into reality. I always dream big, I write my ideas out as I picture them. Even with the mindset of never settling for less, I have not yet come across the impossible, only challenges that need some extra thought for solutions. Picture the delight of watching your dreams and ideas come to life on the screen, each frame a testament to your imagination and hard work. During production of “Just A Little Longer” it was very emotional for me to see many months of careful planning come to fruition with the help of so many talented people. There were moments during production where my breath was taken away and I felt an intense sense of gratitude for the people who helped make it happen. In those moments I may be silent to soak it all in and it feels like I could just die happy right then and there.
These images all come with stories of trials and tribulations. As a filmmaker, my film is like a child to me. The suffering from the stress of the weight of it all, at times, seems impossible to get through. I want so badly for it to be perfect, that I pour every ounce of myself into it. While it’s not something I expect, the sense of validation and appreciation that comes with positive feedback makes all the struggle more worthwhile. Initially, I make films for my personal fulfillment, to get things off my chest, but the feeling of connecting to your audience is the icing and cherry on top. Whether it’s encouragement for storytelling, cinematography, or overall execution, hearing others resonate with my work and appreciate the effort I’ve put in serves as a reminder that creativity has the power to evoke emotions, inspire others, and make a meaningful impact. It drives me to continue pushing myself further and explore new ideas.
Contact Info:
- Website: www.SheFilmsIt.com
- Instagram: @dmileykovsky
- Facebook: https://www.facebook.com/dmileykovsky
Image Credits
Last image was taken by Micah E. Wood