Eric Karkheck '11 is an award-winning filmmaker and editor with over two decades of experience in narrative and documentary storytelling. His work spans sports, comedy, documentaries, and scripted fiction, including the Emmy-winning Beyond the Sport: Fernando Valenzuela and the Telly Award–winning Groundlings 50th Anniversary short. Known for character-driven stories and comedy, Eric blends humor and heart to create authentic, resonant films. He wrote and directed the upcoming independent feature Disconnected, a romantic comedy about a couple attempting a digital detox in the wilderness. Based in Los Angeles, he continues to develop original projects while collaborating with networks, studios, and creative partners. 

What inspired you to pursue filmmaking as a career?

For me, it really comes down to a love of storytelling, in every form. I’ve always been drawn to it, whether it’s silly comedies, powerful dramas, or even documentaries that can change the way people see the world. Filmmaking just felt like the right way to bring it all together. When I was younger, I read a ton of fiction, then I got into photography in my early teens. Eventually, I started experimenting with editing, and I realized that combining those three passions: storytelling, photography, and editing was exactly what filmmaking is all about.

 

 

Was USC always part of your plan, or did your path to SCA evolve naturally?

It was a pretty organic path. I studied production in undergrad at Loyola Chicago, then moved to New York and started working in TV. After a while, I realized I wanted a real creative adventure so I applied to some of the best film schools in the country, and that’s how I ended up at USC.

During your time at SCA, were there any classes, professors, or experiences that left a lasting impact on you?

Oh gosh! Yeah, it’s definitely an intense program. Honestly, it was a life-changing experience. Every day brought something new. When I was at USC, I gravitated toward classes in writing, producing, and directing. It was amazing to learn from professors who were working at the highest level and to have that kind of insight in such an intimate, hands-on classroom environment.

I took a lot of classes with John Watson, he’s fantastic, and the feature writing courses were especially valuable. The production department focuses a lot on making short films, which was great for building skills, but taking those feature screenwriting classes gave me a whole new perspective. It really showed me the difference between short-form and long-form storytelling, and just how exponentially harder it gets the longer the project is. 

 

While you were taking all those classes and working on different projects, was there a role you didn’t think you’d enjoy but ended up loving, like editing or post-production? Or did you mostly stick with writing, directing, and producing and really focus on those?

Every stage in the filmmaking process is a chance to make the story better. Even sound design plays such a huge role, there’s a saying at USC that “sound is half the picture,” and that’s stuck with me. Directing is probably my favorite, but I really think every step, from writing to post, is an opportunity to be creative and push the story further.

Absolutely. What is it about directing that draws you in? Is it the creative control, the ability to guide the overall vision, or the way it inspires your creative process?

I think what draws me to directing is really working with actors and shaping performances. Some of my favorite classes at USC were the directing-actors courses, they were incredibly rewarding. I’m actually married to an actor, and we recently shot an independent feature together that’s a romantic comedy loosely inspired by our marriage… not a documentary, just taking inspiration from our own experiences, which has been a really exciting way to explore the creative process from start to finish.

You’ve worked in both comedy and documentary filmmaking. do you see any similarities between the two, and is there one you prefer?

I do tend to prefer comedy, scripted comedy is probably my favorite. When it comes to writing and editing, there are definitely differences in the process between genres like drama and comedy. But at the core, it’s always about story and character. Once you have that, the rest is just work, putting in the effort to make it as good as it can be. Everything else, the prep, the post, the details, is in service of the story.

 

Congratulations on your recent wins at the LA Emmy Awards and the 2025 Telly Awards! The two projects are very different: one focused on sports media, the other on the history of the legendary improv troupe that launched so many high-profile comedians. What drew you to each topic, and can you share a bit about your creative process for both? Do you have a personal favorite between the two?

Thank you! Yeah, it’s been a great year, and it’s exciting to have two very different projects recognized.

The Emmy was for Beyond the Sport on Spectrum News 1 SoCal. I’m a full-time producer-editor for Spectrum TV Networks, which includes the Lakers and Dodgers networks as well as Spectrum News 1 SoCal, so it keeps me busy all year. Beyond the Sport is a half-hour show that goes beyond the game looking at athletes’ personal stories, struggles, charities, or even smaller players trying to make it big. The episode that won focused on Fernando Valenzuela, the legendary Dodgers pitcher from Mexico. My job was to comb through hours of archival footage and shape it into a cohesive story. It was a team effort, and I was lucky enough to help put it all together.

The Telly was for a totally different project on SoCal Scene, our entertainment and culture show. I covered the Groundlings, the improv troupe that’s launched so many huge comedians, and it was their 50th anniversary this year. This one was really special because I took it from idea to final delivery: pitching it, conducting interviews, editing; it was all me. My wife has connections to the Groundlings and alumni John Crane, which helped inspire the segment. It’s probably my favorite of the two because I got to shepherd it from start to finish—it was really my “baby.”

 

What do you consider the most valuable skill you’ve developed as a filmmaker, and how has it shaped your body of work?

That’s a great question. The first thing I think of is pacing, it’s really key, and it takes time and experience to get it right. It’s about knowing when a moment needs to be drawn out, when it should be condensed, and when it’s time to move on. Whether you’re writing a script, coming up with interview questions, or editing, it’s all about understanding the content and how to present it in the best way.

I actually learned a lot about this in Michael Uno’s 533 class. He said, “The director’s job is to articulate the story,” and for me, pacing is a big part of that. It’s all about making sure each moment lands, keeps the audience engaged, and serves the story.

What advice would you give to emerging entertainment professionals just starting out?

It’s tough. The entertainment industry has always been competitive, and it feels like it’s only getting harder. Budgets are tighter, there’s the shift from cable to streaming, and now AI is starting to shake things up even more.

For me, it’s really about finding a balance. You want to chase your passion projects and dream opportunities, but you also have to stay flexible, be open to day-to-day work that helps you grow, gain experience, and keep moving forward. It’s about embracing the opportunities that come your way, doing good work, and making sure you can keep going while still pursuing the projects that really excite you.

What’s next for you? any new or exciting projects on the horizon?

The next project I have coming out is the independent romcom feature film, Disconnected, that my wife and I co-wrote, and I directed, with her as the lead actor, and Orhan Ayasli, a friend from USC, producing. I’m currently editing it, so we’re hoping to release it soon.

Independent projects take time, especially balancing them with my paid work, but it’s coming along well, and I think it’s going to be a strong independent film once it’s finished. I’ll definitely share how it goes when it’s ready. 
 

LA Area Emmy Acceptance Speech 

Telly Award 

Pro Co website: https://mariaandme.com/

https://www.linkedin.com/in/karkheck/

https://www.imdb.com/name/nm3511214/

 

Story by Emily Tutnick