Today we’d like to introduce you to JOHN “QUIG” QUIGLEY
Hi JOHN “QUIG”, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Trying to sum up the lengthy roller coaster ride of a career in one go? Ha! That’s like trying to fit the history of rock and roll into a single text. But here goes nothing…
It all started back in Detroit, Michigan, when I was just an 18-year-old college kid taking broadcasting classes and hoping to avoid a lifetime of something I didn’t enjoy. It was in one of these classes that I met the lead singer of a newly formed local rock band inviting me to his live show. Sensing an opportunity and not having to buy a ticket, I offered to videotape the band and create a music video for them. (and a chance to be cool).
Did I have experience? Nope. Did I have professional equipment? Also nope. What I did have was my mom’s camcorder and our family’s 8mm camera-both borrowed without permission-and the schools editing gear. The budget? A whopping $120 and a handful of VHS tapes, which, for a broke college student living on his own, working 3 jobs, and paying his own way, felt like putting my entire financial future on the line. But hey, no risk, no rock and roll guest list, right?
Somehow, that scrappy little video landed the band a major record deal. To my utter shock, I wasn’t just some kid with a camcorder anymore—I was a legit music video director. My first big gig? A music video for a song on the Point Break movie soundtrack. Yes, that Point Break. Keanu Reeves, Patrick Swayze, bank-robbing surfers—the whole nine yards. At the time, movie soundtracks were often as influential and commercially successful as the films themselves. And just like that, my work was in regular rotation on MTV. Not bad for being 18 and someone with no experience.
With that win under my belt, I launched my own production company, Chrome Bumper Films (because, you know, Detroit and cars and all that). To make ends meet, I DJ’d at alternative venues in the city, spinning records at night while networking my way into more video gigs by day, offering bands low-cost video production services. It was a classic case of work hard, hustle harder, and I became the go-to filmmaker for bands.
Detroit’s music scene was buzzing with talent, and soon I was shooting videos for bands like Sponge, Kid Rock, George Clinton, The Romantics, His Name is Alive, The Melvins, Godbullies, even Tori Amos, and a bunch of other artists whose names look great in a resume flex. This was also the era before digital cameras and editing software, so I had to learn the hard way—by renting film gear, befriending camera and lighting houses, using the local cable station to edit, and making plenty of glorious mistakes along the way. An experienced and knowledgeable camera assistant played a key role in my education, teaching me the intricacies of 16mm and 35mm film cameras and lenses. This hands-on training—learning from mistakes as I went—proved to be more valuable than any college program.
I developed a distinct ‘QUIG’ film style—an instantly recognizable look paired with an efficient shooting process. Since I was also the editor, I only captured what was necessary for the edit, a skill that became crucial when working on fast-paced, multi-location productions like music videos.
As Chrome Bumper Films grew, so did its ambitions, expanding to include a full-fledged post-production division. I also had an edge as the editor. With an extensive background in music, which was a major influence in my life, and as a former drummer, I understood picking the right music for the scene and the rhythm needed for editing—an essential component in crafting music driven storytelling, something you can’t teach in a classroom.
Then came the game-changer. An up-and-coming rapper from Detroit needed help on a video project. His recording studio partners recommended me. That rapper? Eminem, AKA Marshall Mathers. The next eight years were a blur of music videos, world tours, live performances, concert films, recording-studio documenting, and wild behind-the-scenes stories that would probably require a hefty legal waiver before sharing. I worked closely with him, directing some of his most iconic projects. As his career skyrocketed, so did mine. I became his trusted, in-house director for nearly all visual content—at one point, he was 99% of my work. My office was in the same building as his recording studio, making collaboration seamless.
My work with Eminem spanned a wide range of projects, from directing music videos like (Mockingbird) to editing live performances such as (Live from Madison Square Garden) for Showtime. I also worked on many of his concert tour DVDs (The Anger Management Tour), directed television appearances (Top of the Pops), and directed several concert tour intro films. Additionally, I directed and produced his record-breaking documentary (Eminem: All Access Europe), provided album cover design support (The Re-Up), and even had a hand in post-production on a segment of the 8 Mile DVD.
With Eminem’s success came more opportunities—I directed or filmed projects featuring 50 Cent, D12, Dido, Lady A, Marilyn Manson, Obie Trice, Sigur Ros, and even legends like Steven Tyler and Willie Nelson. By this point, I was directing/producing massive 40 multi-camera productions, including Kid Rock stadium concerts with helicopter footage (because why not?). But then MTV did the unthinkable—it stopped playing music videos. So, like a camera on a tripod, I panned and pivoted.
As advertising and documentaries adopted the fast-paced, music-driven storytelling style pioneered by MTV, transitioning into commercial and documentary work was a natural progression for Chrome Bumper Films. Advertising and documentaries became my new playground. I won Best Director at the New York Film Festival for a documentary about Russian hockey legend Igor Larionov. My work for brands like General Motors, and Saint Joseph Mercy Health System—including projects featuring QB Matthew Stafford—snagged Emmys, MarCom Awards, and even a Super Bowl ad. And somewhere in there, I directed over 50 award winning micro-documentaries on artists and painters because apparently, I can’t resist to help creatively showcase a talented artist.
Still, I longed for the scripted world, so in 2016, I packed up, sold my home, and moved full time to Los Angeles to chase my next career chapter. I ran offices in both LA and Detroit, but now I was focused on breaking into TV episodics and features. Then, just for fun (and because I apparently love high-stress challenges), I self-funded a short film about a casino heist, (:60 Seconds), during the COVID-19 pandemic. It was my way of proving to Hollywood studios that I could direct actors, not just rockstars. Again, the investment in myself, paid off—:60 Seconds was honored as a finalist or official selection at over 30 film festivals, and most importantly landed me a directing gig on an HBO Max series.
Now, I’m still directing, still producing, and still editing 100% of my work (because who needs sleep?). But after three and a half decades in the industry, I’m stepping into new territory—I’m actively seeking representation for more directing opportunities in television and feature films. Because if there’s one thing I’ve learned in this business, it’s that the next chapter is always just around the corner. And I have a feeling my best work is yet to come.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Just as life throws curveballs, my career journey has been anything but smooth. I’ve faced countless struggles, and I’ve come to expect new challenges. The highs and lows will always be a part of this business. Every project presents its own unique hurdles, each requiring a fresh approach to problem-solving. That’s part of what I love about producing and pre-production—no two projects are ever the same, which keeps the process exciting and creatively stimulating. It’s like solving a giant, ever-changing puzzle. I see pre-production as practice for game day—going through the motions and preparing—while filming is the actual game day. Filming should be fun because you’ve put in the time during pre-production, anticipating anything that could go wrong and ensuring you’re ready for it. Of course, something unexpected always happens—it’s practically a rule. That’s why you have a rock-solid team in place, the kind that handles surprises so smoothly you don’t even realize there was a problem… until someone casually mentions it at the wrap party.
In my early years of trying to establish myself, I found that very few industry professionals were willing to share their knowledge or offer guidance. Many feared that helping newcomers might mean losing work themselves. Despite working hard to build a name for myself, I faced skepticism within the industry. At the time, traditional film production followed a rigid path: aspiring filmmakers were expected to attend expensive film schools, work their way up through various departments, and earn experience within an established hierarchy before being taken seriously. I was breaking that mold, forging my own path with an unconventional, out-of-the-box approach that didn’t conform to industry norms, especially at such a young age. Overcoming that skepticism and proving that I belonged at the “adult’s table” was one of my biggest hurdles early on.
Rather than climbing the traditional career ladder, I took a different approach—I went directly to clients, securing work on my own terms and carving out a small but highly creative niche in the industry. However, disrupting the status quo wasn’t easy. By consolidating production, direction, and post-production under one roof as a one-stop-shop, I challenged the traditional agencies, production companies, and post-houses, many of whom weren’t exactly thrilled about my approach. Despite the resistance, I continued to push forward, getting projects on air, winning multiple awards—including an Emmy, several advertising awards, and even a few of those iconic Moonmen—by doing things my way.
As the industry evolves, there will always be new obstacles to overcome and more hoops to jump through to prove you’re the right person for the job. While technology has made it easier than ever to become a filmmaker, staying in the industry as a full-time career still remains incredibly challenging. The unpredictability of the work—never knowing when or where the next job will come from—is a stark contrast to the stability of a corporate career with a bi-weekly paycheck. And always having to find new clients will always be challenging, sometimes creating work rather than waiting for it to find you.
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?
I am a director and producer with Chrome Bumper Films, a full-service film production and post-production company. We specialize in visually creative storytelling across various formats, including music videos, commercials, advertising, marketing, documentaries, television episodic, short films, and feature films. I’m a firm believer that you can’t teach creativity. You can teach someone how to bake a cake, how to parallel park, or even how to change a tire. But creativity? That’s a wild, untamed beast that no textbook or YouTube tutorial can truly wrangle. You still need to learn the basics of that craft to expand on it. Only by understanding the building blocks can you truly push boundaries and bring creative visions to life.
Creativity is what separates the ordinary from the extraordinary. It’s the secret sauce that turns a regular old idea into something groundbreaking—whether it’s a mind-blowing painting, a chart-topping song, or a movie that leaves audiences saying, “Whoa… I need to sit down.” Even if they were already sitting.
I like to craft visual experiences that grab you by the eyeballs and refuse to let go. The ability to mix compelling storytelling with unique, cinematic artistry isn’t something you can pick up in a weekend seminar. It’s a natural gift. The truth is, creativity isn’t a step-by-step process—it’s chaos with a purpose. The best artists, musicians, writers, and filmmakers don’t follow a manual; they scribble their own rules in the margins and then turn those margins into masterpieces. So if you’re out there worrying that you’re “not creative enough,” just remember: the magic isn’t in a lesson plan—it’s in how you see the world. For me, music and film are equal partners in a creative marriage, working together to bring a visual story to life. When they come together, they don’t just tell a story—they make you feel it.
The work I am most proud of is when all elements of a film project come together seamlessly, elevating both the subject and their craft or advertisement. I see my work as a piece of art that enhances their artistry, whether it’s a music video, commercial, or film. My goal is to create a visual experience that not only showcases their talent but also amplifies the emotion and impact of their work, leaving a lasting impression on the audience. I strive to craft moments that resonate—scenes or images that viewers connect with on a personal level, ensuring they take away something meaningful and memorable, or at the very least, a scene that makes them say, “Well, that was cool, how did they film that!”
Success in this industry isn’t just about talent—it’s about the people who help you get there, and there have been many for me. It’s the relationships you build along the way that truly matter. The people who recommend, collaborate with, and support you play a crucial role in shaping your journey. I wouldn’t be where I am today without those who have believed in me, and I am confident that many more will contribute to my continued growth. True greatness is never achieved in isolation; it requires a dedicated team of like-minded individuals who share your vision and help bring it to life.
I aspire to be among the best in the industry, and I recognize that reaching or staying at that level demands unwavering dedication, continuous learning, and the ability to seize opportunities as they arise. The road to success is rarely straightforward—it’s filled with unexpected challenges and pivotal moments that define one’s path. Yet, one thing remains certain: I will continue to carve my own way, push creative boundaries, and tell compelling stories that stay true to my artistic vision, and hopefully stay on that rock and roll guest list.
Do you have any advice for those looking to network or find a mentor?
Today, creators have more platforms to showcase their work—YouTube, social media, and other digital outlets have made it easier to gain exposure. However, monetizing content and turning it into a sustainable career is still difficult. Even with my experience and accolades, securing representation as a director remains a challenge—but that doesn’t stop me. Every day, I’m knocking on directors reps and managers’ email doors, determined to find the right representation for television, feature, or commercial work.
Networking is essential, and one of the best ways to find a mentor is by actively engaging in industry events, conferences, and local meetups. I recently became a member of the Television Academy—the organization behind the Emmys—and the meetups and events they offer have given me the opportunity to connect with established, like-minded professionals from various sectors of the film industry. These are individuals I might never have crossed paths with otherwise, and the relationships I’ve built through these events have been incredibly valuable.
Building connections with professionals who are willing to share their knowledge can be a game-changer. In the past, many industry veterans were reluctant to share their skills, fearing competition. However, the industry has evolved, and there is now a much stronger spirit of collaboration. Many experienced professionals are eager to mentor newcomers, recognizing that knowledge-sharing strengthens the industry as a whole.
I never understood the mindset of withholding information. Teaching and mentorship not only foster growth within the field but also help cultivate a new generation of skilled professionals. While learning through trial and error is an inevitable part of the journey, having guidance from those with experience can accelerate progress, minimize costly mistakes, and open doors to exciting new opportunities. And let’s be honest—having a mentor means you have someone to text in a panic at 3 AM when you realize you’ve completely botched the export of a client’s video that’s due in the morning.
Someone will always be inspired by your work and may even use it as a source of influence—whether they admit it or not! Creativity sparks creativity, and the best ideas often leave a lasting ripple effect, shaping the visions of others in ways we may never fully realize.
One of the best ways to grow in your profession is through continuous learning. Fortunately, there are now countless resources available that I never had, including YouTube tutorials, online film schools, and free industry workshops. However, the most valuable learning experiences often come from hands-on, in-person interactions with experienced professionals. Simply stepping onto a film set is like unlocking a cheat code for industry knowledge—you instantly gain insight into how each department functions, witness the beautiful chaos firsthand, and discover that craft services is the true MVP of any production.
Contact Info:
- Website: https://chromebumperfilms.net
- Instagram: https://www.instagram.com/chromebumperfilms555
- Facebook: https://www.facebook.com/ChromeBumperFilms
- LinkedIn: https://www.linkedin.com/in/quig555
- Twitter: https://x.com/chromebumpernet
- Youtube: https://vimeopro.com/quig555/artist-profiles
- Soundcloud: https://www.imdb.com/name/nm2131826
- Other: https://www.60secondsmovie.com
Image Credits
Michael Adams
Lauren Smoker
Jeremy Deputat
Chris Stranad
