El Paso Film Community Rallies After Film Commissioner Steps Down

On Wednesday night, El Paso’s film community packed into a room not just to talk, but to finally be heard.

Hosted by EP Indie Film, a grassroots page created to connect local filmmakers, the gathering marked only the group’s fourth meeting. Yet the last two have revealed something deeper than casual networking. They’ve turned into emotional forums where working artists, crew members, and aspiring filmmakers are openly asking for a stronger, unified community and real pathways to consistent work in El Paso.

Local filmmaker Genaro Limon opened the discussion by giving the floor to the room. The focus of the night was the recent departure of Film Commissioner Drew Mayer-Oaks, who stepped down to accept a commissioner role in Corpus Christi. Dozens of filmmakers, from emerging creators to established industry players, voiced frustrations about their experiences under the previous commission. Visit El Paso, the organization that oversees the film office, had been invited but did not attend, a detail many speakers pointed to as symbolic of the disconnect they’ve felt for years.

Despite the frustration, the loudest message wasn’t anger. It was urgency.

Speaker after speaker emphasized that the next commissioner must be someone from El Paso, someone who understands the city’s culture and is invested in building a sustainable film ecosystem. The sentiment was nearly unanimous. Representation isn’t enough without opportunity. This community wants infrastructure that leads to steady productions, real jobs, and a reputation that matches the city’s creative potential.

Carlos Corral, founder and artistic director of the EP Film Festival, addressed concerns that El Paso carries a negative reputation in the broader film world. His remarks were met with heavy applause after he reminded the room that multiple respected industry publications have ranked El Paso among the top cities for filmmakers. The problem, many agreed, isn’t perception. It’s converting recognition into consistent local benefit.

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One of the most powerful moments of the night came from longtime location manager and picture car coordinator Jacob Cena, a foundational figure in El Paso’s film scene. Known to many for working alongside Paul Thomas Anderson during the production of One Battle After Another and his pivotal work on Glory Road, Cena received the biggest applause of the evening. While some in the crowd jokingly called for him to take the commissioner role himself, his message was focused and forward-looking. Whatever feelings people hold about the past administration, the priority now is the future. The room rallied around that idea.

Several attendees acknowledged that El Paso’s film circles have historically been fragmented. But the simple act of showing up, of rival crews, independent creators, and major players sharing the same space, felt like a turning point. Many described the meeting as proof that local filmmakers are ready to organize, advocate, and represent each other in pursuit of making El Paso a true production hub.

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A recurring theme throughout the night was the need for aggressive pursuit of a competitive city film incentive. While Texas offers state rebates through its Moving Image Industry Incentive Program, neighboring New Mexico’s far stronger credits continue to pull productions away. Filmmakers warned that without a serious local incentive, El Paso risks watching opportunity cross state lines.

By the end of the meeting, the tone had shifted from frustration to momentum. The vacancy in the commissioner’s office has created uncertainty, but it has also ignited something the community has been missing, collective focus. For the first time in a long time, El Paso’s filmmakers weren’t just talking about what’s wrong. They were outlining what comes next and making it clear they intend to shape it together.