Luke Willis '16 graduated USC School of Cinematic Arts in 2016 with a BA in Film and Television Production. His first film job out of school was as an assistant on the Tribeca Audience award-winning documentary, Gay Chorus Deep South which awakened his passion for queer cinema! Since then, Luke has written and directed numerous award-winning queer short films and music videos under his production company Attic Box Productions. Most recently he directed the feature-length documentary, Lady Like about RuPaul's Drag Race superstar, Lady Camden, which premiered as the Closing Night Gala Film for BFI Flare in 2024 and is now available to rent or own VOD in North America and UK. Luke came to filmmaking after 20+ years in the theater, 10 of which were spent as a classical ballet dancer for the San Francisco Ballet. In 2014 he retired from ballet to pursue his other great love of writing and directing for the screen. Most recently Luke was a 2024 The Peace Studio fellow in recognition of his dedication to inspire hope and catalyze transformative social change through art and storytelling.

What initially sparked your interest in pursuing a career in filmmaking?

Honestly, I can't pinpoint a single moment - it feels like storytelling and creating have always been a part of who I am. My love and inspiration for filmmaking, theater, and dance - all of the creative mediums I work in - are things I’ve been passionate about for as long as I can remember. I think I came into the world with that passion. As a child, I was making movies with my parents’ video camera in the '80s and '90s, editing videos on a VHS player, and immersing myself in cinema and performing arts. Storytelling became my sanctuary, especially growing up as a queer kid in the deep South, an environment that often felt hostile and unwelcoming. From an early age, I knew I was different, and I carried the weight of that secret. I was acutely aware that I didn’t fit into the world around me, but storytelling gave me a space where I could escape, process my emotions, and feel validated simply for being human. Through stories, I found freedom, belonging, and the courage to love who I loved. That foundation has stayed with me and continues to inspire my work. I strive to create the kinds of stories I needed when I was younger - stories that provide catharsis, belonging, hope, and inspiration for others, especially those who feel unseen.

As a kid, I was constantly creating: writing and directing plays, making films, and choreographing dances. I performed in my first professional theater production at the age of 9 or 10 in Florida. Later, I attended a performing arts high school, where I studied theater - there wasn’t a film program - but I was deeply involved in directing and acting. After high school, I went on to an acting conservatory. Then, when I moved to Boston, I discovered classical ballet and fell in love with it, which led to an incredible decade-long detour into the world of ballet. That chapter of my life was transformative and profoundly special. When I eventually transitioned out of ballet, I returned to my original passion - writing, directing, acting, and telling stories. It’s always been my calling. 
 

Was attending USC and the School of Cinematic Arts always part of your plan? Share your journey with us.

No, not exactly. My initial plan as a young kid was to pursue an acting degree - I began that journey in the BFA program at Boston University. My goal was to spend 5 to 10 years as an actor to gain firsthand experience and use it as a foundation for my aspirations as a director. I believed that understanding the craft from the perspective of a performer would be invaluable when transitioning into directing. After more than a decade-long career in live performance, particularly in ballet, I reached a point where it felt natural to return to college. By then, I was already a seasoned professional in the world of live theater, but I realized there was still something missing - a formal education in film. That gap became clear after I made a dance-related short film during my final year in ballet. The experience of creating that project sparked a profound excitement and solidified my decision to pivot toward a film-specific degree.

Once I committed to this new path, it was obvious to me that USC was where I wanted to be. I applied to five schools and was accepted into four, but I remember USC being the last to notify me. Even as I received acceptance letters from other schools, I couldn’t help feeling disappointed because I was holding out for USC. I’ll never forget the day I finally received my acceptance. My mom was sitting with me, and when she asked what I was going to do, my response was immediate: “There’s no question - we all know I’m going to USC.” It was a bit of a circuitous journey, but each step felt essential in bringing me to where I am today.
 

Were there any classes, professors, or moments during your time at SCA that were particularly impactful?

I truly admired my producing professor from my 310 class and remain close friends with her to this day. She had such an incredible impact on me. Another standout was one of my editing professors, Norm Holland, who, though no longer with us, left a profound mark on my perspective. He deepened my appreciation for editing and made me fall in love with the craft.

One particularly memorable moment during 310 occurred when it was my turn to edit a friend’s film. After completing the rough cut, my friend took it to the composer we’d brought on to score the film. The composer, who didn’t know me or my background, watched the film - a story about a magician - and turned to the director to say, “Wow, this reminds me of a ballet.” That moment was so meaningful to me. It felt like all the different facets of my creative life - ballet, film, and storytelling - were coming together and shaping my unique voice as a filmmaker. I also took an incredible general education course on Eastern cinema, which left a lasting impression on me. My race and representation class, which I chose to take through a film-centered lens, was another transformative experience. It offered valuable perspectives that continue to influence my work.

During my final semester, Candace Reckinger launched the VR lab, and I managed to join as part of my final project. Instead of completing the traditional 480 project, I created a VR project. That experience was exhilarating, as it allowed me to dive into uncharted territory and experiment with the future possibilities of cinema. I vividly remember the engaging sessions I had with Candace and Eric, where we discussed the endless potential of film and storytelling in emerging mediums. It was such an inspiring and energizing time. And of course, I absolutely loved the comedy directing class - it was a highlight of my time at USC!

What is your creative process? 

My creative process is fluid and adapts to the project. When I’m writing something inspired by my own ideas, the process is deeply personal. However, when collaborating or creating for someone else, I begin by understanding their vision and goals to guide my work. A major influence on my creativity has been The Artist’s Way, which I discovered at 18. Its principles, especially morning pages, have been invaluable. Taking 10 minutes each day to write freely keeps my creativity flowing. Movement is also essential, likely rooted in my background as a dancer. Whether it’s yoga or a quick dance break, it helps me stay energized and avoid stagnation.

Some of my favorite projects have emerged unexpectedly. One of my best short films came to me during a hike in the middle of the COVID-19 pandemic - a time when I wasn’t even trying to brainstorm. Similarly, Ladylike began as short social media videos for Lady Camden, but I realized I was documenting something uniquely compelling and pivoted to a full documentary. These unplanned moments of inspiration are what make the creative process so exciting. Collaboration is another critical aspect of my work. While I use journaling, movement, and nature to stay inspired, the most rewarding breakthroughs often happen with others. Collaboration pushes me beyond my own limitations, fostering discovery and growth. I believe the best creative work reflects a desire to expand and explore. Projects rooted in curiosity and innovation resonate more deeply with audiences. Sticking to what’s comfortable can feel stagnant for both the creator and the viewer. That’s why I find collaboration so addictive - it challenges me to think bigger, break boundaries, and evolve as an artist.

As a multi-talented filmmaker and creator, do you have a favorite role in the content creation process? 

Absolutely, I love directing - but I also love producing, editing, and really every aspect of the filmmaking process. It’s all so rewarding. Moving through the pipeline of a film, I find joy in every stage. I love the writing phase, hashing out the story, figuring out what the characters need to say, and envisioning the production design. I’m equally passionate about casting and the collaborative effort of bringing the right team together.

What’s so exciting about the process is how each step feels like a new layer being added to the story. Just when one phase starts to feel routine or less exciting, it’s time to transition to the next stage, like production or post-production. That shift reignites my enthusiasm and allows me to see the project with fresh eyes. Suddenly, I’m inspired all over again - exploring how the story evolves through editing, sound design, color grading, or another creative element. Each stage brings its own unique challenges and rewards, and I truly love them all. It’s that continual discovery and layering that makes filmmaking such an exhilarating process for me.

You founded your own production company, Attic Box Productions. What was the most challenging aspect of that journey, and is there anything you would approach differently in hindsight?

Starting an independent production company or pursuing your own indie filmmaking efforts inevitably brings one major question to the forefront: funding. It’s the question I’m asked most often at Q&A sessions and panels - filmmakers always want to know, “How do you secure the money?” And the truth is, it’s a constantly evolving challenge. The methods for financing a project are ever-changing, and as artists, it’s often the last thing we want to deal with, yet it’s the very first thing we need to address to bring other collaborators on board. I’ve found that the key lies in a superpower many filmmakers might not realize they possess: the ability to craft compelling, captivating stories. Once you have a clear and powerful message for your project, finding funding becomes significantly easier. It’s often said - and it’s true - that your pitch matters. Whether it’s Save the Cat! or another resource that emphasizes honing your logline, testing your idea in simple, concise terms can be transformative. Even something as small as practicing your pitch on strangers - like baristas - can reveal what resonates and what doesn’t.

Nailing your messaging is a process. It takes time, trial, and a lot of fine-tuning to boil your story down to one to three sentences that are truly impactful. But once you do, it’s incredibly powerful. While I can’t offer a one-size-fits-all answer to securing funding, I believe a strong message combined with relentless passion and perseverance will always take you a long way.

Congratulations on the successful premiere of your recent film, Lady Like, and its official selection at multiple film festivals! Could you share your experience creating this film? What inspired you to delve into this subject and feature Lady Camden?

I first fell in love with Lady Camden before there was any hint of Drag Race. I met her at a friend's show and was immediately captivated by her talent. I knew I wanted to collaborate on something, so we connected, and after discovering our shared connections in the Bay Area dance community, we decided to start creating. We made a few small projects just for fun, with no intention of anyone seeing them.

Then the pandemic hit, and we paused our work. But out of the blue, Lady Camden called me to share the exciting news that she had made it onto Drag Race. I wasn’t surprised - her talent was undeniable. We brainstormed and came up with six short films to highlight key runway looks and challenges from her season. Unlike other queens, who typically do photo shoots for each episode, we wanted to create characters, stories, and worlds that gave Camden’s outfits deeper meaning.

One of the films, I Don’t Need a Reason, was a ballet pas de deux and premiered on Nowness. It became the platform's most-watched film of 2022. During an interview with Rex for the project, I was struck by the parallels between his story and my own - how ballet and the arts provided an escape from difficult circumstances. It was then that I realized I should follow Rex’s journey more closely, exploring how his story would unfold from a dancer to an internationally recognized drag queen. This sparked the creation of Ladylike, a project that would document his transformation.

Do you find yourself drawn to particular narratives or genres? Do you often draw inspiration from real-life experiences to bring stories to the screen?

Absolutely. One of the things I love most about film and storytelling is our ability to create allegories for our own lived experiences, ones that resonate with so many different journeys. I always draw on my own experiences - the love, the pain, the hope that I carry - in order to tell a story. I didn't enter USC's film school with the intention of becoming a queer filmmaker, and it was a process of self-discovery to find that path.

After graduating, one of my first jobs was as assistant editor on the film Gay Chorus Deep South, which won the Tribeca Audience Award in 2019. It’s available on Paramount+ - definitely check it out. Working so closely with Tim Selig, a queer elder and former Southern Baptist preacher who was also the director of the San Francisco Gay Men’s Chorus, was a profound experience. It not only deeply impacted me but also led me to confront parts of my own identity as a queer adult. It was during this time that I realized the films I loved growing up - like Dirty Dancing, Titanic, Romeo and Juliet, and Moulin Rouge - spoke to me because of their queer subtext. The forbidden love story is often deeply queer-coded, and I had always inserted myself into those narratives.

Through my work on Gay Chorus Deep South, I understood that I was trying to give that little queer kid a voice and the permission to simply be who they were. That moment was a revelation. It made me realize that the films I want to make - stories of queer love - are exactly what I needed growing up. I wanted to create films that offer queer heroes, the kind I desperately sought in my youth. It’s about providing those stories, the ones that show a path forward and help create a more just and loving society. I consciously avoid narratives that leave things unresolved or undefined because I believe the queer community desperately needs stories with clear heroes and role models - stories that show queer kids how to love, find their voice, stand up for themselves, and remain hopeful, no matter how difficult their day-to-day may be. These are the stories that tell them, “You are not alone. There are others out there, rooting for you, even if you can’t see them yet.”

What advice would you offer to emerging filmmakers stepping into the industry after college?

Live, go, live! Professional pursuits, career advancement, and building a resume are all achievable at any time. However, your voice as an artist is shaped by life experience. It is through life’s experiences that your stories emerge, and those experiences aren’t found within the confines of the industry. They are found in living - through love, travel, heartbreak, volunteering, and stepping into the unexpected. If there's something you’ve always thought, "I’ll do that one day," take action today! Because without your own personal stories, how can you expect to authentically tell the stories of others?

What's next for you? Are there any exciting projects on the horizon?

Funny you should ask. I’m currently working on several exciting projects. I’m in the process of developing my 2021 short film Pool Boy into a feature, which I hope will be my debut narrative feature. In addition, I have a few long-term projects with Lady Camden that I'm really looking forward to. One of my aspirations is to direct a musical theater production, and I already have a particular show in mind that I believe would be phenomenal. It's an entirely drag cast, and it explores the themes we’ve discussed - specifically the queer experience of feeling the need to be exceptional in order to be accepted. It addresses how the lack of acceptance for who you are can lead to a desperate, sometimes unhealthy, desire for validation.

Want to see more of Luke's work? Click here:

www.ladylikethemovie.com

trailer: https://www.youtube.com/watch?v=S6N1_po6D4c

Story by Emily Tutnick