Katia Belas graduated with a degree in Fine Arts from Federal University of Rio De Janeiro Brazil. Since that time, she has worked in theater and has also taught Scene Design, Costume Design and Basic Lighting for Theatre at the Criar Institute in Brazil. While in Brazil, she was invited to assist the producer of Brazilian Singer Elaine Guedes for her concert at the Municipal Theatre of Niteroi, RJ as well as the producer of Ricky Martin’s concert on Feb. 2nd, 1997, in Rio De Janeiro. Because of her work at his concert, the management staff of Ricky Martin also invited her to assist them personally during the shoot of a Pepsi-Cola commercial in which Ricky Martin starred.
Katia’s passion for film producing was realized in a course given by the filmmaker Chris Rodrigues from which she ended up producing two shorts and assisting in one feature still in Brazil.
Red carpet & speaking at the @TSWY_FilmSeries premiere event in LA. #filmmaker #producer #influencialspeech pic.twitter.com/orW3ovYziN
— Katia Belas (@KatiaBelas) April 1, 2017
She went to America to improve her skills in film producing by taking a certificated program of courses in Film and TV at UCLA Extension, which has lead her to Internships in TV and Film productions such as Crush (2000) from USA Network, Jane Bond (2001), a short film from Trillion Entertainment. She has worked on various independent projects such as ‘Crazy Jane’ (digital feature), in which she held the position of 2nd Assistant Director, and ‘Sin in My Eyes’ (also a digital feature), in which she held the position of 1st Assistant Director.
Katia’s experience has also afforded her the opportunity to work in the production offices of Lynda Obst (Lynda Obst Productions), based out of Paramount Pictures, and in the personal office of Executive Producer Dan Halsted (Halsted Pictures) (Witchblade, The Day Reagan Was Shot etc.)
How would you describe your work as a director?
Being a Producer/Director is super challenging however, I wouldn’t trade it for anything. It is the most rewarding work, to see the final product on screen and to renew the energy I lost during the production of it. That is what makes life goes around
How did you get into directing?
To be honest, I never thought of myself as a director. I started to get involved in directing when I went to school for filmmaking still back in Brazil, but it was during my course at UCLA that one of the classes assignment was film a scene and I was assigned as the director and I just loved it.
How do you choose a project to direct?
I need to fall in love with it, it needs to speak to me in some level. Some of the films I directed, I either wrote it or asked a friend to write the story for me because I wanted to tell that story. From there, I just try to create the image that would tell the story deeper that would speak and/or connect to others too.
Closing night with the Deaf actors from @deafwest #AtHomeAtTheZoo. pic.twitter.com/Pbw7SZocFp
— Katia Belas (@KatiaBelas) March 27, 2017
What uniqueness can female director bring to Film, TV, and Cinema?
More than any other director, a good female director with eager to win in this tough industry, she will bring a lot of strength and powerful leadership. Nothing is easy for a female in the film industry, so our strength and wiliness to win is enhanced and will show on our work and on screen.
Do you take courses to increase your craft?
I really wish, courses are always good and I’m a lifelong student, but unfortunately I don’t have the time. What I do is taking hours long workshops and meet as a many other industry folks as I can to exchange ideas and learn from their experience. I also try to be on set as much as I can, I volunteer a lot on short films that usually don’t take long to shoot so I can keep my creative mind open to how other people do their craft. I learn a lot by observing others working.
What books do you read?
I don’t read books.
Why will you choose an actor, writer or producer. What do you look for?
I’m a producer myself, so I would work with another producer if we both have the same passion for the project, but if I’m going to be hired as a director only, I hope the producer has the “nothing is impossible” attitude, that’s my motto, and I like producers that agree with it. As casting, the actors need to have more than the right look. Body expression is key. If they depend on facial expression only and their voice intonation to say the lines, they are weak. I can still work with them, but that mean my work as a director to the actor will be more specific and we will need to rehearse more so I can get the body expression I am looking for on a character. As for writers, they need to be able to answer me when I have a question about the script or the scene and know how to defend his/her story or ideas.
When you are offered a project, what things do you put in place to do a good job?
I need to know the passion from the other key members and then I work with what I have from them. If I’m producing it for a director who wrote it, I just deliver whatever he/she needs to make his/her vision come true.
Briefly explain your latest work?
I just finish the 1st phase of a short-film series which each film approaches a social issue. Each and every film mixes Deaf & Hearing, professional & student crew and/or cast. It encourages the talent of a wide variety of diversities in the film industry! In 5 films so far we have included in our cast and crew not only Deaf and Hearing talents but also Latino, Black, Jewish, Gay, relatives of a survivor of Domestic Violence and relative of a suicide victim..and we are on the way to work with many more minorities and diversities! The special nuance of all films is that none has any dialogue in any language (although some may have texts in English) and they are designed to showcase the universal language that everyone, Deaf or hearing can understand, the language of the body, gestures, colors, eyes contact, facial expression and all the emotions that comes with it.I produced 5 films and 1 music video linked to one of the films. I directed 2 of the films and the music video.
What thing/situation helps you during production?
The thing that I most appreciate is courtesy and responsibility. Communication is the key! Many times people are late, and in LA’s traffic, it is very understandable, but no call no show is unacceptable to me. I can re-arrange the shoot if people are responsible to communicate their whereabouts and keep the production flowing.
Explain a creative choice you took on set on a recent production?
I think one of them was answered on the question about when we chanced the story from HS to College level. Another one as a director of music video, I chose to shoot all with a black background. We shot on same location as the film, with same actors and same wardrobe but I didn’t want to use the location set up. The film was silent and we could focus on the character, the music video was not, and more it was in Sign Language. To make it more effective to Deaf audience to be focusing on the signing from the actors and for the hearing audience to be linking the signing with the song playing, I decided that the less visual background would make it more power to the actors acting and signing.
How do you advise directors to find projects?
There is no formula to me. Just network a lot, send resumes to the projects you think is something you want to do and can do well.
How can filmmakers finance projects?
Finance. Why is it so hard to find finance to a film? There is nothing, really nothing better than networking. You will end up meeting the people who will have the resource and like your idea as well. A good marketing, sponsors, friends, they all can help, but all companies out there are run by someone, and you can only find that someone when you network and meet him/her, or is referred by someone to the money person. That’s why filmmaking is consider the “who you know” business.
What do you want from an actor in production?
Full commitment and open mind. No one knows everything, so we will learn from each other to create the best character the actor can bring to screen.
How do you prefer to work with a producer during a production?
I’m his/her best friend. We create the film together. Being a producer myself I understand that a director cannot direct if the producer does not want to produce what the director wants, and vice versa. We are one in a team.
What do you think a director can do to get into the film industry?
Shoot as many films as possible, and get involved in as many production as possible even if it is not as a director.
Who is your favorite director?
I have 2, on TV Steven Miner, in films Martin Scorsese
Why this director?
Both have a very great way of shooting the body language of the character. They don’t focus only on the face expression but the whole body acting.
What advice would you give to directors around the world?
Just make it happen. Sometimes the time is not right, but that doesn’t mean you have to stop, keep doing it, on your pace, on your own, but just continue doing it
Briefly write about your career?
I’ve done many different thing, but I have no idea what was the most impressive work, I really don’t keep track of this things, I love all work I do the same way. I have some friends telling me that I have inspired many people with how I do it. Actresses that has developed their will to become directors as well after working with me, directors that has opened to hired diversity and disable talents after working on my series, actors and crew members taking up Sign Language after seeing what I could do to communicate with other type of talents (Deaf in this case). So I guess I can count those feedbacks as the effect of my work. You can see some of them here: or for some of my work or
What is coming up next?
I have 5 projects in development, 2 features, 1 series, 1 reality show and 1 children show for Brazilian kids (dedicating it to my nephew) but as for helping others to accomplish the same, I am now organizing a Film Festival in Los Angeles and Riverside area to promote more disability in films. The 1st International TSWY Film Festival is on filmfreeway.com (TSWYFilmFest) and we accept films with Deaf and Hearing filmmakers involved in key roles/positions and film students. That is to encourage indie filmmakers to give the chance to students to develop their craft on set.
When I say I can’t draw my storyboard, I mean it!! #tswy #DUI #filmmaking #itisnoteasy #27cameraangles #Sandygetprep pic.twitter.com/dcxR3fSyDT
— Katia Belas (@KatiaBelas) September 11, 2016
In Conversation with Michael Oblowitz Director of Confidential Informant
Confidential Informant stars Mel Gibson, Dominic Purcell, and Kate Bosworth
