Today we’d like to introduce you to Chris Anthony Hamilton.
Hi Chris Anthony, thanks for joining us today. We’d love for you to start by introducing yourself.
It definitely wasn’t a straight line. I grew up in a small town in Massachusetts where HBO was basically my window to the film world. I watched absolutely everything I could.
The lightbulb moment actually happened in high school when I saved up to buy my first DVD player. I started listening to the director’s commentary tracks and realized, ‘Wait, there’s one person actually orchestrating all this madness?’ That was it. I went to Hofstra University starting out as a Psychology major, and then quickly switched to Film Production with the goal of directing features.
I cut my teeth in New York City freelancing in the camera department, which was the best boot camp I could have asked for. But the real shift happened when I moved to Atlanta in 2015. That’s where I truly stepped into the director’s chair, tackling branded content for a production company called Bark Bark where I’m proud to say I’m still on the roster today.
These days, my life is a bit of a trans-Atlantic juggling act. I live and work between Atlanta and Italy, where my 10-year-old daughter lives. When I’m not on a set or on a plane, I’m usually teaching. I love mentoring aspiring filmmakers through the Atlanta Film Society, RE:IMAGINE, and my own Creative Career Accelerator program. It’s been a wild ride from that small town in Mass to here, but I wouldn’t trade it.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
The road definitely hasn’t always been smooth. There have been plenty of bumpy patches, including right now which is a challenging time for so many people in the film/television industry. It’s been a wild journey with some truly incredible moments that I’ve gotten to share with some amazing people. Working as a freelancer for nearly 20 years, the toughest parts have, of course, been the times when work has been scarce for one reason or another. But I’ve managed to weather those storms and build a life and career that I’m very happy with–mainly thanks to the fantastic relationships I’ve developed throughout that time.
Appreciate you sharing that. What else should we know about what you do?
Professionally, I operate as a Director and Director of Photography specializing in commercials and branded content. I’ve been fortunate enough to work with major brands like Google, Walmart, AMC, and Universal, among many others.
Beyond the commercial world, I write and direct narrative films and television. It’s been incredibly rewarding to have my short films screen and win awards at festivals internationally, and I currently have three shorts streaming online. Right now, I’m also deep in development on a series called ‘The Exit Plan’. That pilot script recently ranked in the Top 3% on Coverfly, a major discovery platform for screenwriters, which was a great validation of the concept.
But if you ask me what I’m most proud of, it’s not a specific project or client. It’s the community. I’ve worked hard to cultivate a network of talented, generous filmmakers in Atlanta and beyond. In an industry that can be notoriously competitive, I think prioritizing those relationships and focusing on mentorship is what truly sets me apart.
What sort of changes are you expecting over the next 5-10 years?
I’m going to be real because I respect artists too much to lie to them: The industry’s ‘Gatekeeper Model’ is dying.
We were all raised on this idea that if we just got good enough at our craft, a magic phone would ring, and a studio or agent would ‘greenlight’ our careers. But the industry contraction we’re seeing right now isn’t just a temporary dip; it’s a fundamental reset. The people who used to give out permission are paralyzed, trying to save their own jobs.
So, I see the next decade belonging to the ‘Sovereign Creative’. The filmmakers who stop waiting to be picked and start functioning like their own mini-studios.
I call this the ‘Greenlight Ecosystem.’ It’s the shift where you stop relying solely on your talent (which is just one engine) and start building the other three engines required to survive: The Budget (recurring revenue that divorces your survival from your art), The Crew (your human infrastructure), and The Distribution (your own marketing pipeline).
The shift is simple but brutal: If you are waiting for someone else to save you, you’re going to run out of runway. But if you learn to ‘Executive Produce’ your own life, this is actually the best time in history to be a creator. The permission slip isn’t coming, so you have to sign it yourself.
Contact Info:
- Website: https://www.chrisanthonyhamilton.com
- Instagram: https://www.instagram.com/floby2k1/
- Facebook: https://www.facebook.com/chrisanthonyhamiltonfilm
- LinkedIn: https://www.linkedin.com/in/chrisanthonyhamilton/
- Youtube: https://www.youtube.com/@ChrisAnthonyHamilton
- Other: https://www.bkwimageworks.com/
Image Credits
Nina Marinov, McKenzie Lewis
