Today we’d like to introduce you to Corbin Cox.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, what should we know about what you do?
I’m a filmmaker — but more specifically a writer, director, and DP specializing in narrative-based visuals. At the core, I just consider myself a storyteller. Whether that be directing commercial work for a state-of-the-art Napa Winery, producing doc-style pieces for network or freely crafting visual tales for musicians. It all comes back to the story.
Can you tell us a bit how you got started?
My infatuation with the camera came early. Before age ten, I was on a skateboard religiously in the small big city of Milwaukee, WI. I saved up (thanks, mom) to buy a VHS camcorder and became “the dude with the video camera” in my group of scabby skate kids. I set the camera and the board down a couple of times but my love for the two are forever intertwined.
At age 19, I hit the f*ck-it button and moved to Charleston, SC to work with a Chicago-based musician as his director/shooter. This guy was getting millions of views on his songs and I thought it could be my shot. We moved cross country twice to work with different producers/management teams and amassed 10+ million views (that was a lot back then) on our videos— but eventually, we parted ways. Regardless, the experience taught me hustle as a young, eager twenty-something and introduced me to industry pros I now humbly call friends. Sometimes everything traces back to a single risky move you made when you had nothing to lose. This was mine.
With the industry slowing down a bit, have you been able to keep busy?
Aside from being born here in LA, I moved back to the city permanently about one month before Corona did, so a lot of the plans for work I had were snuffed out. Turned out to be a blessing in disguise because it gave me the breathing room to create my own shorts, get out and shoot, and help friends on their own personal projects during quarantine. The simple act of completing a piece was enough to keep my brain buzzing and creative muscles in shape. Those lost jobs were eventually replaced with fresh opportunity and I’m still riding that wave of momentum.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey has been a fairly smooth road?
For most, I think some of the first hurdles are finding your style. Your unique voice. Your path… “Pick a lane” I’ve been told so many times. I understand the advantages of pursuing the mastery of a niche skill, but it’s hard when you love it all and feel you can excel in each one at different times. That’s why I like being in the driver’s seat as director. You get a hand in most everything.
But I think a main obstacle of mine was mental… never *not confident in my ability*, but holding on to a lot of my work because it didn’t end up meeting a certain threshold I held for myself. I’m sure many creatives can relate. We’re constantly inspired by so many artists and for a long time, I believed I couldn’t let anything go until it matched the level I was seeing from peers. That was a failed thought pattern. People want to work with… people who are working! We’ve all had to sacrifice parts of our precious creative; things go wrong on the day, you can’t get the dream location, permits, timing, etc… 110% satisfied or not, let it fly, and keep pushing. Within the last year, I’ve implemented this new ethos and guess what? I’m busy as hell. Release the hounds, my friends.
Are there any projects that you’re specifically proud of?
I’m really proud of a project I co-wrote & directed for ABC’s Nashville star Riley Smith, titled ‘Chocolate’; it’s always exciting to work with industry-seasoned camera talent and musicians – and he was both. I’m also very proud of a little-known music video called ‘The Burial’ by DelMar the Poet which was nominated and screened at the Milwaukee Film Fest. He and I dreamed up some crazy stuff and pulled it off with no label or production company backing. We had to do things like call a location pretending to be an “associate producer” from a “studio” that didn’t exist and maneuver through countless phone calls until we reached the president of that company — just to make a deal and allow us on the property for 6 hours. Turns out all they wanted was some drone footage in exchange for full access to their 700-acre gravel processing plant. I think the amount of pre-production work and, ultimately the payoff we felt, made this a special one.
Those were really well done. What would you say about your work makes it stand out?
In both of those pieces, you’ll see that I enjoy playing with time on screen and exercising a more psychological spin (looking at you, Christopher Nolan). Rewarding audiences with full circle, ah-ha moments, and even some easter eggs for those who go back and rewatch. I think that sets me apart when it comes to directorial style. I pay mind to the things beneath the surface, even if unnoticed. I’ll know it’s there. Eagle eyes will too.
What do you like and dislike about the city?
I’m still new-ish so the only thing I can think I’m not a fan of is crowded areas (thanks coronanxiety)… is that a word yet?
For me, one of the best things about living here is the opportunity to get in touch with and ultimately collaborate on projects with the people you look up to. There’re so many seizable moments just by being in the mix and remaining grateful to be a part of the possibilities. Your gift will get you in the room, your character will keep you there.
Contact Info:
- Website: corbincox.com
- Instagram: @corbinccox
Image Credits:
– Sean Gallitz, CBS – Corey Staley – David Rogers
