After an hour-and-a-half of discussing how to get into the film industry with prospective students, Josh Pate, co-creator, writer, and executive producer of the popular Netflix show “Outer Banks” (OBX), told The Daily Princetonian, “Poor bastards … God, it’s hard.”
Last Wednesday, Princeton Pictures (PPic), a University student group that produces student short films, hosted Pate for a special Q&A event, where he shared his experience working in the film industry. Aside from OBX, Pate is known for his work on “The Grave,” “Deceiver,” “Good vs. Evil,” and “Surface,” and his new show, “The Runarounds,” is expected to premier sometime this year on Amazon Prime.
President of PPic Connor Odom ’26 and member Jeremy Yun ’25 hosted the event. About 50 students had gathered in McCosh 10 to hear Pate speak.
One thing Pate discussed was the influx of Generative Artificial Intelligence (AI) in the filmmaking industry and how it will lower production costs.
“Most of the job is in front of a computer, because you’re either writing or editing,” Pate explained. “Two thirds of it [producing a film or TV show] is writing and editing. I think AI is going to take a chunk out of the production wings and affect everything.”
According to Pate, many of the people who currently write and edit scripts are lacking the proper skill to work with innovative filmmakers. He advised that filmmakers should lean into the use of AI to compensate for the lack of skill without entirely getting rid of the workforce.
“The people that could do it the old fashioned-way are kind of useless, and I’m dealing with a lot of these guys,” Pate said. “So let’s quit making regular movies and embrace AI at the same time.”
AI also assists in editing shots, including making shots look bigger and smoother.
“One of the films I’m working on, we’re looking at trying to rotoscope an aspect of the shot and using AI to make that smoother, and use the motion tracking and after effects, which, a couple years ago, we would not be able to,” Pate said.
He explained that having an AI “techie” is only an added benefit to a production team. “It makes it [editing] a lot easier,” Pate said.
Another thing Pate discussed was the importance of producing one’s own Indie film as the best way to break into the industry.
“Do you want to be on the artist side or the business side? If you want to be on the business side, go work for Warner Brothers. If you want to be an artist, go do it,” Pate said.
“Are you gonna make a movie about being a Creative Artists Agency (CAA) assistant?” Pate said. “It’s better if you go join the Merchant Marines who get abducted in Venezuela — then you actually have a story to tell. So, that’s the biggest thing as writers: What do you have to write about?”
Pate cited his own experience of driving around the surrounding neighborhoods for material. “When I was younger, I used to drive … everywhere. I would just go to the worst neighborhoods and just try to go to, like, underbellies of culture as, like, an anthropologist, just for material.”
As a filmmaker creates more material and begins to form a production team, Pate shared the importance of directing style. “Your leadership style has to be an authentic expression of who you really are,” he said.
Odom explained to the ‘Prince’ that much of Pate’s advice deviates from traditional advice given by film industry professionals. Odom previously worked as a commercial director for ABC Network and CW.
One of these pieces of advice was Pate’s suggestion that aspiring filmmakers should not devote time to producing short films.
“I was taught that to make a feature film, you have to do a short film first,” Odom explained. “So to hear from someone who’s produced so much successful work, who’s probably produced the most watched show on Netflix, to say, ‘short films really aren’t that important, go make a feature film, go write a feature screenplay or a pilot script’ is just not what I was expecting to hear. That was a really great insight.”
Yun, who had been casted in Pate’s new show “The Runarounds,” praised Pate’s ability to speak to a younger audience.
“It’s truly hard to speak to young generations over a period of as long a career he’s had, and I think that he’s been able to keep delivering on successful stuff that really speaks to his insight in storytelling, into young minds,” Yun explained. “I’m grateful to have been part of it.”
Meredith Sneed ’27, a member of PPic and a contributing Prospect writer, shared Yun’s sentiment about Pate being an influential filmmaker in the industry.
“It’s definitely been cool to hear everyone’s excitement about getting a look into how it [filmmaking] all works, because it [OBX] is such a defining show in our generation.”
Odom believes that the event highlighted a more practical approach to filmmaking than is generally seen.
“A lot of events based around industries are very trivial here, are very surface level, and don’t get to the nuts and bolts,” Odom explained. “My whole goal with moderating this was to ask some really hard questions about how to break in, what actually happens in the industry, and I think we were able to achieve that.”
Aside from the screenwriter of John Wick, Pate has been the most high-profile creator that PPic has hosted so far, according to Odom. Pate’s son, Walker, is currently a member of the Class of 2028.
“So many young people want to go into the arts, and on some level … it has to be a calling, like you’re a priest, because you’re going to be tested,” Pate told the ‘Prince.’ “You just want to make sure you’re in it for the long haul and not just because ‘I want to, it’s fun for a minute.’”
Luke Grippo is a contributing writer for The Prospect. He is from South Jersey, and loves theater and music. He is also a staff News writer for the ‘Prince.’
Please send any corrections to corrections[at]dailyprincetonian.com.
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