With more than 300 roles on a film set in addition to VFX, animation, post-production, and film-adjacent careers, there are countless ways to build a career in the motion picture industry. The Voices from the Field series highlights professionals across departments to showcase the variety of paths into film and the unique contributions they make behind the scenes.
In this Q&A, we spoke with Nicole Oguchi about her work as a line producer, from the beginnings of her career to present day as the Head of Physical Production at Omnifilm Entertainment. Originally planning to pursue law, Nicole discovered her passion for filmmaking after taking a film theory class at UBC, a decision that set her on a new and unexpected path. Since then, she has built a dynamic career, collaborating with legendary filmmakers and supporting a wide range of productions. Here, Nicole shares insights from her journey, from the early encouragement that inspired her shift into film, to the challenges and rewarding moments that continue to fuel her love for the industry.
Can you tell us a bit about your background and what inspired you to pursue a career in the film industry?
My path into film wasn’t a straight line. I was studying English and Psychology at UBC, planning to go to law school, when I took a film theory class as an elective — mostly out of curiosity. That class was taught by Professor John Newton, and he really opened my eyes to a side of storytelling I hadn’t considered before. He encouraged me to apply to the UBC film program, and that set things in motion.
At the time, I still thought law school might be in the cards, but the more time I spent in the film program, the more I realized how much I enjoyed the process of filmmaking. In my final year, I got a job as a camera trainee on a feature film, and from that point on, I never really looked back. I eventually transitioned from camera into the production office, working my way up from coordinator to supervisor, then UPM, and ultimately line producing a Canadian television series.
That early encouragement from Professor Newton helped me realize I had a natural fit for this work — and once I found that sense of creative momentum and collaboration, I knew I was in the right place.
How does your role help shape or support the overall storytelling process on a production?
Now that I’m at Omnifilm Entertainment, my role allows me to have a direct hand in shaping the types of stories we want to tell and how we tell them. I help define the creative vision for our projects and ensure that what we produce aligns with the values and identity of our brand. That means being intentional about the voices we amplify, the kinds of narratives we pursue, and how those stories connect with an audience.
Early in my career, I had the opportunity to work with some of the legends of film — people like Spielberg, Cameron, Burton, and Gilliam — and watching them work was like a masterclass in visual storytelling. I also learned just as much from working closely with Canadian storytellers and emerging directors who brought fresh, distinct perspectives.
That mix of experiences really shaped how I approach my role today: part of it is creative intuition, but a big part is recognizing talent, protecting the core of a story, and building the right environment around it so it can thrive.
Can you share a project or moment in your career that reminded you why you love this work?
Working with Steven Spielberg was a true career highlight and a moment that reminded me why I love this industry. I had previously worked with him when he was an executive producer on a series, but getting the chance to collaborate with him as a director was something else entirely. It was also my second time working with Frank Marshall, another legend whose leadership and knowledge I deeply respect.
From the studio to the producers to the department heads, every part of that production was operating at the highest level. Even with the typical challenges that come up on any set, there was this shared sense of purpose and professionalism that came from working with creatives who are truly masters of their craft. It was one of those experiences where you’re constantly learning — not just about filmmaking, but about how to lead, collaborate, and elevate the work. It reminded me how powerful this medium can be when the right people come together with a clear vision.
What has been one of the most creatively rewarding challenges you’ve faced on a production, and how did you approach it?
One of the most creatively rewarding challenges I’ve faced was working on the directorial debuts of Casey Affleck and Anna Kendrick. Both films had limited budgets, but these were artists who had spent their careers working with some of the best filmmakers in the world — so their expectations, understandably, were high.
The challenge was: how do we support that creative vision with a fraction of the resources? The approach was all about collaboration and trust. I was fortunate to bring on incredibly skilled crews — people who usually work on major studio productions with big budgets— and they came onboard out of respect for Casey and Anna. They pulled in favours, put in their own time, and brought real heart to the work.
Seeing everyone rally to help first-time directors bring their vision to life — and doing it with such generosity and care — was a reminder of why I love this industry. It showed me that creativity isn’t just about budget; it’s about commitment, resourcefulness, and building the right team.
In your experience, what are some small but impactful ways teams can make film production more welcoming for everyone?
In my experience, it’s often the small, consistent actions that create the biggest impact in making a production more welcoming. Taking the time to get to know the crew, acknowledging good work no matter the department, and creating an environment where people feel comfortable speaking up — those things really matter.
One thing I’ve always tried to do is be accessible to the crew, no matter their position. Whether someone’s just starting out or has years of experience, they should feel like they can ask questions, offer ideas, or raise concerns. That kind of openness goes a long way in building trust and morale.
Hiring practices also play a role — bringing in people from diverse backgrounds, giving chances to emerging talent, and being intentional about who’s at the table helps create a more inclusive environment. At the end of the day, a welcoming set is a better set — people do their best work when they feel respected and part of the team.
What’s one piece of advice you’d offer to someone just starting out who’d like to work their way up to a career position like yours?
One piece of advice I’d offer is to always stay open to learning — even when something feels outside the scope of your job. Some of the most valuable lessons in my career came from saying yes to roles or tasks that weren’t part of my original plan. Whether it was jumping into different departments, or working across different formats and budgets, that range of experience became a huge asset.
If you can, try to work on a mix of projects — studio films, indie features, television, Canadian content, and with emerging producers and directors. Each one teaches you something different about how to problem-solve, collaborate, and navigate the business. The more diverse your experience, the more adaptable and valuable you become — and that’s what opens doors in the long run.