JOHN WYCHE
By Nick Smith
The role of a Production Assistant (PA) is tough and unappreciated. It’s packed with long hours of fetching and carrying without the intellectual stimulation that comes with, for example, operating a camera. It’s an entry level position, a low rung on the ladder of a career in filmmaking. But a ladder without rungs is useless. As with all roles on a set, PAs are essential to get a movie made.
A PA’s responsibilities can be general – helping to move gear, driving, getting coffee – or specific to a department like art, catering or even special effects.
‘It all kind of blends together into one job, one day,’ says Pensacola native John Wyche, 31, who began his career as a Production Assistant. ‘I’ve been in the PA trenches for a very long time. For me I felt like it was the best opportunity to get my foot in the door.’
John credits his first PA gig to Austin Hermann. ‘John is one of the most dependable guys I’ve worked with,’ says Hermann, who is currently a video content producer at Bit-Wizards in Fort Walton Beach, Florida. ‘Whenever a production asks me for any recommendations on crew, he is the first and usually only person I reference.’
‘My career really kicked off when I first worked with Calvin Griffin,’ John recalls. ‘He helped me make a film for the Mobile Film Scramble. He’s the king of the city [of Pensacola] now.’
‘John Wyche is the person who first introduced me to the film scene,’ says Griffin. ‘He always encourages others to pursue their dreams in film. He is a filmmaker who is not afraid to go above and beyond in creative measures to express his art. I am so excited for the world to see his work.’
Since film is a collaborative medium, it takes a village – or a city – to help a movie maker grow. John has praise for all the filmmakers who helped him get started. ‘Carrie Lee Hunter was my big mentor, she helped me make my first big progress. Trey Lane was the impetus for me to start making films on my own.’
John is not a stereotypical bossy, loudhailer-chewing director. He comes across as mild and unassuming. ‘It’s a difficult thing to express myself verbally and socially,’ he admits. ‘Films are a way of expressing my point of view, the way I see the world. It’s a way of communication. Hopefully people will want to see the films.’
Over the past four years, John has progressed from PA and worked as a producer on short films (The Proof, Zaza’s Channel, Misguided Reasons, Fragrance of Misconception) and a mini-series (Darshell Sanderfer’s Mate in Waiting, which he also helped film and direct). Wyche’s work looks spontaneous, energetic and full of creativity. Despite all the experience he’s gained, he still wants to improve his craft. ‘I’m still struggling to get halfway good,’ he says, ‘but it’s something I just spend hours on, watching films, talking films, being a real nerdy cinephile.’
Cinema has been a lifelong interest for John. ‘I didn’t need a babysitter,’ he jokes, ‘all I needed was cable.’ In school the subject was something he was good at, and at the age of 12 he says he started seriously, ‘figuring out what a director does.’ His best friend Matt tried to get him to shoot basketball videos and mixtape stuff. ‘My parents bought me a camera. Everybody was supportive and when my cousins found out that I became a filmmaker they said, “yeah it makes sense.”’
John especially credits his ‘super supportive’ parents with helping him achieve his dreams. ‘They’re big on education, gung-ho,’ he says. ‘They’ve helped me out enormously and they’ve always believed in me, even if I didn’t believe in myself.’
Egged on by his folks, John has moved to Savannah, Georgia to earn his Masters in Film at SCAD, the prestigious Art and Design school. ‘I’m shooting my thesis soon. I will be doing crowdsourcing so watch this space.’
After college, John’s plan is to continue working on films in Atlanta (‘at the Marvel studio, Zoe Saldana waved at me from her car!’), write, direct and produce his own work, and help other filmmakers to complete their projects. He’s quick to point out that you don’t need a Master’s or even a crew to get started as a filmmaker.
‘You gotta do it,’ he says, ‘grab a camera. Making a film by yourself is the best way to start out. Come up with an idea, shoot it in your room or wherever. That way you have to do a little bit of everything – PAing, sound. It has to be coherent. On the next one, you bring in friends and actors.’
From PA to producer, John’s enthusiasm is evident in all his work. ‘I want to tattoo my filmography on myself as a manifestation,’ he says. ‘I’ll be covered in them before I get to 40.’
