Conversations with Catherine Mosier-Mills

Today we’d like to introduce you to Catherine Mosier-Mills.

Catherine, we appreciate you taking the time to share your story with us today. Where does your story begin?
I grew up outside of Philadelphia and went to college at Pomona College, where I majored in Media Studies. I spent my summers interning at various production companies before landing a job in post-production for unscripted TV. Since then, I have worked as a Story Producer for Netflix shows like Selling Sunset, which has been an incredibly fun career, and surprisingly relevant to all the film theory I learned in college! I’m currently directing my first feature, The Last Romantic, which is set in 1920s Hollywood.

My background is mostly in writing and editing, but I also learned how to shoot on 35mm film with a French camera from the 1940s called the Eclair Cameflex. The Cameflex was used as a combat and news camera, and was popular during the French New Wave and New Hollywood eras of filmmaking because of its light weight. It’s difficult to shoot sound with because it’s so loud (it sounds like a sewing machine), so I learned to really focus on the visual aspect of filmmaking. Physically feeling the film move through the camera is a special experience which permanently changed my approach to filmmaking. I’m fortunate to have found a wonderful community of people who shoot on film here in LA, and am constantly inspired by their tenacity and talent.

We all face challenges, but looking back would you describe it as a relatively smooth road?
Shooting on the Cameflex presented its fair share of technical difficulties early on, especially small things like “does my motor need a new fuse?” or, “how do I repair this magazine?” The resources are few and far between. But, I believe you get better at your craft when you have challenges to overcome. I love an enabling constraint, especially as they apply to independent filmmaking. Sometimes we come up with better, more creative solutions when we’re forced to think outside the box.

As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
Currently, I’m very excited about The Last Romantic! I wrote the script about two years ago. We shot a proof-of-concept last year, and started production on the feature in October 2026. The film takes place in 1927, shortly after the death of sex symbol Rudolph Valentino. It follows a young gigolo aspiring to take his place, and his relationship with the female film producer who crafts his image while restoring her own. I am fortunate to work with so many talented collaborators who are bringing this world to life, including the immensely talented cinematographer Thais Castralli. And, of course, we will be shooting it on 35mm film.

Can you talk to us about how you think about risk?
One of the strangest risks I ever took was actually related to my camera. A few years ago, I was connected to American Zoetrope, Francis Ford Coppola’s company. He used the Cameflex frequently in his early career, including on some of my favorite movies of his. I ended up borrowing and servicing a few of his cameras. It was such a meaningful experience, but definitely a risky one, as I knew how much sentimental value they had.

Contact Info:

• Website: https://www.catherinemosier-mills.com
• Instagram: https://www.instagram.com/c.mosiermills
• Other: https://www.thelastromanticmovie.com

Image Credits
Lushia Anson, Craig Boydston, Tate Hildyard, Thais Castralli, Catherine Mosier-Mills