Jonathan Curtiss ‘18 is a writer-director from South Central LA with credits on ABC’s Grown-ishand Spectrum's LSE. He was raised working in his grandparents' Word Of Life bookstore, the oldest Black-owned bookstore in Los Angeles, and has since transitioned from civil engineering at Boise State to earning a Master's in Screenwriting at USC. Jonathan has directed films globally, including his international debut, Boy No Fear, shot in East Africa and made in partnership with the Taco Bell Foundation. Jonathan aims to use art as a bridge between cultures and to inspire this new generation to dream without limits. 

Q1: What inspired you to pursue a degree in screenwriting?

JC: I always loved film growing up; I just never thought it was something that could be a tangible career. I didn’t have many folks around me who worked in the film industry, so it was one of those things I thought was just a hobby. I figured you had to be rich or the child of an established media giant to pursue film. But when I moved away for undergrad, I took a playwriting class, and I saw my first play performed in a small coffee shop in Boise, Idaho, where I attended undergrad. It was there that I discovered that art is truly a universal language. Being from South Los Angeles, I felt like I had nothing in common with the audience that night. Yet the crowd was completely engaged and somehow immersed, laughing at every joke, and feeling every intention of each moment in the play. I had never felt so connected to a room full of strangers before, and I believe that was the moment the storyteller in me was born — or at least awakened.

Q2: Why did you choose USC’s School of Cinematic Arts to continue your film studies?

JC: I was close to graduating with my undergraduate degree in civil engineering from Boise State University. I was the only African American in my graduating class, I was homesick, and I would often catch myself saying, “I’m never going back to school.” It was just the growing pains talking because, honestly, Boise played an imperative part in my growth as a human being; it prepared me. I was taking playwriting and screenwriting classes as a minor, and the passion for film was growing too intrusive to ignore. Then, one day, I saw Fruitvale Station. It was incredibly impactful; I began researching Ryan Coogler, and I really felt a connection to his story and his journey as an artist. I knew he went to USC for film school, and I grew up not too far from campus. So I found myself saying, “I’m never going back to school… unless it’s USC.” It was the only graduate school I applied to, and I was fortunate to be accepted.

Q3: Were there any classes, professors, or experiences from your time at USC/SCA that were most impactful?

JC: Coming from undergrad, I was only used to being surrounded by engineers, scientists, and construction managers. I was as far away as you could imagine from Hollywood and the entertainment industry, so doing something like this — becoming a filmmaker — was a rebellious thought in the engineering world. At first, it was a culture shock coming to campus and not seeing periodic tables on the walls but rather countless posters of films and television shows made by our own alumni. It made me feel like my posters would soon be on the wall too. And what started as a culture shock became expectation and gratitude.

So, there are a lot of impactful memories at USC, but another that comes to mind was creating my first short film, which eventually went on to win the Jack Nicholson Excellence in Directing Award. It was interesting: I was in the writing program and made the film with a $400 budget. I didn’t know what I was doing at all, but I was fearless enough to fail. And so were my USC collaborators, who were crazy enough to join me on the ride. I also recently learned that Ryan Coogler also won that award; it was a full-circle moment for me, since Ryan was an inspiration for me to even take this journey.

Q4: As a writer/director/producer, what is your favorite role, and where in the creative process do you enjoy most?

JC: My favorite role really depends on when you ask me. In general, my favorite role is actually working on the film score. When the film is edited and the music is coming in, it’s just so much fun. Even when I’m writing, I love working with composers to find music that represents the feeling of the film. It’s just something about the score that makes it a movie. Other than the film score, I love working with actors. They really bring the story to life, and I love the challenge of setting an atmosphere to bring out of them what they didn’t realize was inside. It’s one of the most rewarding parts; it's beautiful.

Q5: As a writer/director/producer, what challenges have you faced when working on a project? How did you persevere through the difficult moments?

JC: Every film is different and has its challenges. I’ve had trouble with producing in the past. But in hindsight, those challenges were meant to reveal to me my own capacity to also produce. Producing is one of the most important jobs, and it is often thankless. It’s also a job that never ends. But I’ve been fortunate to find that with the right team, anything is possible.

Q6: Do you have a favorite project you have been a part of that you are particularly proud of?

JC: I’m particularly proud of my very first project that I made at USC — not because it was perfect by any means, but more because I made the first step. I did not know what I was really doing, specifically all the challenges I was about to face. I’m definitely proud of myself for that starting point. I’m also very proud of my most recent film, Boy No Fear. I shot it in Uganda/East Africa, bringing a team from USC to Uganda to collaborate with our team out there. It was a really wonderful experience.

Q7: You recently screened your short film Boy No Fear in Uganda to two sold-out theaters. What was it like getting to debut your work for an international audience? Did you learn anything from the experience?

JC: We made the tickets free, so I was able to pre-screen friends and family of the crew. Nevertheless, they really enjoyed the whole experience!

What was crazy about last year was that I was initially going to Uganda to support my brother; he has a non-profit there called the Building Hope Project. I was really inspired by the work he’s been doing, raising funds and paying school fees for primary schools there. I thought I was just going to support him, but I ended up going to Uganda four times that year. I learned so much about the culture. I say that the one thing that makes film so beautiful is getting to share stories across cultural barriers. Film turns culture into a bridge rather than a border, and I saw that firsthand as folks expressed gratitude to me for making a piece of art that also included their local language. I really enjoyed the whole experience, and I hope I’m fortunate enough to continue to build ‘bridges’ for as long as possible. After all, I was a civil engineer — just doing it differently now.

Q8: You’re working to bridge a gap between American and international audiences by building two non-profit cinemas in both South Central LA and Uganda. This is wonderful to hear! What inspired you to spearhead this task? Where are you in the process?

JC: Boy No Fear is all about a boy who has no concept of fear. I really wanted to embrace my fearless nature that I believe we all have when we’re younger but lose as we age and leave childhood. I wanted to connect with that and inspire that fearlessness once again. The film also aims to define the difference between being fearless and being courageous. On the journey of making this film, I was also facing my own fears: directing an international film for the first time, with a child actor, multiple stunts, shooting practically, and on location in a national forest. So I think this is a great time to thank the Taco Bell Foundation for their support of the film, for believing in me. We were able to hire over 60 filmmakers across the diaspora and also create a film that I believe will inspire many very soon.

The non-profit I am working with uses films such as Boy No Fear to uplift the Ugandan non-profit world, where funds will be given to various causes and inspire philanthropic efforts so that film can truly “change the world.” That’s where the idea for the non profit cinemas came from.

Q9: What advice would you give emerging storytellers and creatives? Is there anything you wish you would have known after graduating from SCA?

JC: The beautiful thing about SCA is that you’re in this “anything is possible” bubble. You aren’t shown the status quo and the difficulties of entering the industry post-graduation. I would encourage young filmmakers and recent graduates to never let go of the feeling that anything is possible, but always plan for how you’re going to make those things a reality in your life.

I saw a lot of filmmakers enter USC looking for their voice. It can be tough, so I want young creatives to know that life is a journey of discovery. Be patient with yourself, and allow yourself the possibility of change. Above all, it’s important to be your authentic self, the world doesn’t need you to be more like anyone else, it needs you to be more of yourself. 

Q10: What’s next? Any exciting projects in the works?

JC: I’ve spent the last couple of years writing features, and I feel more excited than ever for the next chapter in my career as both a director and a screenwriter. So there are several exciting projects in the works — some that will hopefully reveal themselves soon.

 

 

Instagram: @Belovecurtiss & @boynofearfilm

 

Story by Emily Tutnick