As technology reshapes the filmmaking landscape at lightning speed, Associate Professor Ash Stone of Weber State University is helping bridge the gap between academia and the realities of the industry. As both the founding director of multiple film programs and an active documentary filmmaker, Stone brings a rare dual perspective to the conversation — one grounded in educational structure and the unpredictable nature of independent film production.
In this conversation, he opens up about how filmmaking students can set themselves up for success, the power of short-form storytelling, and how AI and social media are reshaping the way we teach, make, and consume film.
You’re a film professor. Can you tell us a little bit about your title and your role?
I’m an associate professor of film and digital media at Weber State University and the founding director of our film program. I also previously built a film program at Minnesota State University. So, beyond teaching, I’ve developed film curricula from the ground up. I’m also an active filmmaker—particularly in the documentary space. My last film, Rez Metal, has played at numerous film festivals and was widely distributed.
That’s great to hear, especially since not all professors are active filmmakers. Does being a working filmmaker ever conflict with the academic system?
Yes, and that’s a very tricky part of our field. Academia offers valuable support and structure, but it often prioritizes a smooth, pleasant student experience over preparing students for the hard truths of the real-world industry. In the real world, it’s cutthroat. You need grit, initiative, and the ability to navigate alone. I find that the system sometimes downplays the importance of individual growth, professional standards, and resilience.
Can you expand on that? Where do you think the academic model falls short?
Sometimes there’s a tendency to emphasize group projects and collaboration, which has value, but sometimes students lose focus on their individual voice and portfolio. Many of them leave school without a solid reel or body of work that’s truly theirs. I wish academia emphasized solo storytelling a bit more, so students graduate with strong, independent creative samples they can take into the real world.
Let’s talk about documentary filmmaking. Some people think it’s just piecing together interviews and a voiceover, but what’s your approach to storytelling?
We’re actually in a golden age of nonfiction. Look at Netflix or Amazon—many of the most-watched pieces are documentaries, and they’re cinematic, emotionally compelling, and narratively sharp. Personally, I look for stories that subvert expectations. My last project, Rez Metal, explored the heavy metal music scene on the Navajo reservation. It was inspired by a brief article about a conservative Navajo councilman who also happened to be a heavy metal drummer. That contradiction fascinated me. It wasn’t about trauma alone—it was about how youth use music to process their reality.
What’s the process like once you’ve found an idea like that?
First, I assess access. I contact journalists or people close to the story and try to build relationships. Once I know there’s a story and I can get to it, I begin crafting a compelling proposal—because without funding, there is no documentary. I always emphasize that research and development are the most crucial phases, even though they’re not glamorous. Once I secure that first grant, it becomes easier to get others. Rez Metal secured several grants because the pitch was surprising and unexpected.
If someone doesn’t have grant-writing experience, rich parents, or brand sponsorships, how do they start?
That’s my story. I’m an immigrant. No rich parents. I pursued academia partly to fund my passion and not rely on the industry alone. But for others, my best advice is: start small. Create short films. A powerful short that wins awards or plays widely can open doors. My first breakout was a 14-minute documentary called “Long Struggle” in grad school—it won awards and built credibility. You need samples to get taken seriously in grant applications. Build a track record.
In a world with YouTube, AI, and DIY content, do you still believe in the value of film school?
Academia is just one path. It’s not for everyone. But if you don’t have resources, film school provides structure, mentorship, equipment, and peer feedback. However, it only works if students are strategic—some enjoy the experience too much and get lost in the support system. Once they graduate, they’re shocked by how little structure there is. But if used wisely, academia can be a launchpad.
Where do you see the film industry headed over the next 2–3 years, especially with AI and social media in the mix?
We’re going to see more hybridization—narrative techniques blending into documentary, more cinematic nonfiction. On the AI front, yes, there’s anxiety. But there was anxiety when we switched from film to digital, too. AI is an enhancement tool right now—it speeds up post-production, cleans audio, and assists with visual effects. But it lacks the emotional intuition and editorial nuance humans bring. Even the Academy Awards recently stated that AI won’t disqualify a film from consideration, as long as there’s meaningful human involvement. Audiences still crave content with a human touch. AI isn’t here to replace us—it’s here to amplify what we do, at least for now.
