Title:GEMA Externship: Where Are They Now? John Cunha (C’16)

John Cunha graduated from Georgetown College in 2016, with a major in Government and a minor in Film & Media Studies. Currently, he is Director of Global Creative Advertising in the Motion Picture Group at Lionsgate, developing creative marketing campaigns and overseeing the print marketing for half of Lionsgate’s wide theatrical slate, including the John Wick and Saw franchises.

What was your first job?

When I first moved to Los Angeles to pursue a career in the film industry, I bounced around a lot of “odd jobs”. I explored on-set work, minor agency work, and even some live event work. But my first moderately consistent job was being a freelance editor. I carried over a small client base built in my senior year at Georgetown to Los Angeles, focusing on short documentary and non-profit commercial content. It was a fun way to cut my teeth at creative work, but freelancing can be tough, and after a year I felt like I needed a change. I felt a little rudderless. I had to decide whether I really wanted to go all in on being an editor and grow a bigger, more sustainable clientele or pursue a different path where I could get broader experience. I chose the latter and began searching for work at a film studio where I could experience the full scope of a film’s life cycle.

What was your first “big break”? Or, what is the most significant experience you have had that has made your success possible?

I’d consider my first “big break” into the film industry landing my first studio job. I started as an Assistant to the EVP of Creative Advertising at STX Entertainment, Keri Moore. I hadn’t been considering a career in film marketing at the time but, when a friend referred me for the job, I chased it and got it. It quickly blossomed into something I was passionate about and, as it turns out, a great solution to my goal of experiencing the full life cycle of a film. In one way or another, marketing touches nearly every stage of a film, from script to screen and beyond.

Just getting my foot in the door at a mini-major studio was a “big break” for me, and something that shouldn’t be underestimated when post-grads land their first jobs. A lot of fundamental change is happening in the industry, and it can be tough to break in right now.  That first job is truly a “big break” to be proud of.

The most significant experience I’ve had that’s made my success possible was early in my career. During a period at STX when we were short-staffed, I found myself stepping up to handle duties above my assistant-level job description. It was a trial-by-fire period of learning for me. To cover where the studio needed help the most, I was thrown into the world of print creative advertising – basically everything that goes into developing the art of a film’s marketing campaign. The posters and their on-set photoshoots, the outdoor advertising, the billboards, social media ads, the Blu-ray cover, even the way the title treatment looks. I was doing things daily that I’d never done before and developing my own skill set and creative taste all the while. That experience gave me the confidence that I’d be able to handle whatever was thrown at me. It taught me that it’s okay to say yes to something you don’t know how to do – more than likely, you’ll figure it out and be better for it.

What do you do in your job now? What is your favorite part of your current position?

My current role is Director of Global Creative Advertising at Lionsgate. The job description can really be endless. Like (um) Batman, I’m whatever they need me to be. I’m involved with developing campaign strategy, trailers, TV spots, out of the box “viral” stunts, you name it. Every campaign is different and demands something new, so one day I may be planning a photoshoot for a comedy movie and the next I may be voicing the Jigsaw killer for a piece of Saw marketing.

And, of course, my major focus remains the thing that really sparked my passion for this career, developing print creative. For about half of our theatrical slate, I create key art that becomes the poster and more. This process starts in the script stage, where I create sketch concepts to capture in photoshoots with the cast on set. Later, I’ll take all that material I gather during production to build art, exploring different ways we can visually communicate the themes, characters, and marketing hooks of a film to an audience. That process ranges from a few short months to over a year and often means hundreds of posters explored to find the right one.

I have a lot of favorite things about this job. It is constantly evolving, almost never the same today as it will be tomorrow. It is creatively rewarding, as I get to spend my days creating things that get me excited, in the hopes that they too will excite audiences. It’s fun to see your work out in the world representing films that resonate with audiences – I’ve been lucky enough to manage print campaigns for John Wick: Chapter 4, the upcoming Wick spinoff Ballerina, Saw X, and many more. And I get to do it with some truly talented and exceptional people. I really love the people I work with, and it makes the long hours enjoyable.

What was the externship experience like for you? Did it have an influence on your career/help kickstart your career?

I had a great GEMA Externship experience. I got the opportunity to meet several professionals at impressive places in their careers, who were all enthusiastic to stay in touch and offer guidance along the way. 

As a student, I had a narrower view of what the industry had to offer in terms of jobs. The GEMA Externship opened me up to considering different career paths in the entertainment industry, and expanded what I thought a job in Hollywood could look like. It was influential in my understanding of the diversity of careers available.

What part(s) of the Externship did you find most valuable?

The GEMA Externship offered a bird’s eye view of many different roles in the industry that I found to be invaluable. It helped me understand that there are numerous ways to have a creatively fulfilling career, and no single, right path to getting there. It also helped give me the confidence to take a chance and move to Los Angeles ten days after graduating. Talking firsthand to alums who have in some way been in my shoes really made it less daunting. It removed some of the mystique and nebulousness of “a career in the movies”, making it seem practical and achievable.

What was your experience like attending Georgetown? Were there any particularly formative experiences that were special to you?

I look very fondly on my time at Georgetown – I’d be lying if I said I didn’t miss it! I made friends I’m still in touch with today and learned a lot about the world in four all-too-short years. Whether it was in government classes, Mask and Bauble and Nomadic Theatre productions, or lively debates with friends, I was constantly impressed by my peers. At 30 years old, it’s fun to see many of them come into their own as young leaders in their industries.

I found my time in the Film & Media Studies Minor to be particularly formative, and I really admire the work that Bernie Cook, Sky Sitney, Melissa Bruno, and more did to champion film at an admittedly non-film school. Their advocacy of a career in film helped keep that interest alive in me, even as I pursued a major in Government. And reminded me that it was more than the source of a lot of theory to be studied, but a totally valid and practical career path.

What’s your advice for an undergraduate trying to break into your industry? Is there anything you would tell your younger self now?

I don’t think I’m sharing anything revelatory here, but talk to as many people as will listen to you. Share what you’re interested in and learn about their career trajectories. There is no single track to breaking into the film industry, and there are many creatively fulfilling jobs in all parts of the field. Be open to an opportunity that maybe wasn’t what you initially envisioned, and don’t be discouraged if nothing presents itself right away. It can take time, but extreme persistence, hard work, and a desire to learn often gets recognized. Keep in touch, and don’t be afraid to send a follow-up if you don’t hear back (sometimes, we all need a nudge!).

As to my younger self, I’d try to instill those lessons that I learned early in my first studio job. Say “yes” to things you may not know how to do and learn from experience. Step up to bat before you think you’re ready and take chances. For me and many others, self-confidence is not something that comes naturally – it’s something that demands constant practice. Learning firsthand that challenges are often opportunities and risks frequently do pay off has been invaluable for me.

Name someone in your career who has been a valuable mentor or role model to you and why?

I’ve had the privilege to work with my two bosses, Keri Moore and Jack Teed, across multiple studios, and both have been valuable mentors to me.

Now Co-President of Marketing at Lionsgate, Keri is a model of fostering a collaborative, creative environment, and really brings a human element to the workplace. Particularly at a “mini-major” studio, the hours can be long and taxing, often at the expense of personal relationships. She has a great ability to make sure everyone is cared for and feels fulfilled. People sometimes overlook just how much of our lives is spent in the workplace, so it’s so important that that environment is a fulfilling one. 

Jack, who is the SVP of Global Creative Advertising at Lionsgate, has taught me a lot about the meaning of ego-less success in a sometimes ego-heavy industry. He is the hardest worker I know, brilliantly creative at what he does, and yet the first person to shine a light on others for good ideas and hard work. An idea that cracks a great campaign can come from anywhere up the ladder, and he’s been a role model in how to advocate for those ideas.

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