Before we begin, I’d like to extend a heartfelt thank you to Ana Fuciu for joining us and sharing her inspiring journey and professional insights. Ana is a freelance producer with a diverse and dynamic portfolio that spans everything from award-winning short films to large-scale live events.
Originally from Bucharest, Romania, Ana’s passion for storytelling took root during her school years and blossomed into a full-fledged career after moving to the U.S. to study at Drexel University.
Her career highlights include producing content for major productions such as Bad Bunny’s Un Verano Sin Ti tour, Celine at The Wiltern, and the Billboard Women in Music Awards, where she led as a Field Producer.
Ana has also made a mark in the independent film world, with her short film Angel (2024) receiving international recognition and multiple awards. With every project, Ana proves that perseverance, passion, and a deep love for the craft can carve a path through even the most competitive of industries.
We’re excited to learn more about her experiences and the stories that have shaped her vision as a producer.
SUPERVISING THE NEW SET-UP ON LOCATION FOR ANGEL. IMAGE: AARON MARKS
Let’s start with Angel (2024). What is the story behind this short film, and how did you come to be involved as a Producer?
Angel started out as a dream for my director, Kylie Smith. Without giving away too much of the plot, it’s a tragic queer love story set in New York City that involves time travel between the present day and the 1970s.
It’s a period story of chance and synchronicity that brings two people together in the most unforeseen circumstances, and gives you a personal insight into their inner worlds, conflicts, and the difficulties they overcome.
When the director and I met, my passion for dramatic love stories definitely played a part in getting involved in the project. We shared a vision of how the project would look—the feel and mood, lighting and camera angles, set design, and so on.
What were some of the biggest challenges you faced while producing Angel, and how did you overcome them?
One of the biggest challenges was the location we chose to shoot in. We filmed all the period scenes first in a small walk-up apartment with very limited space and a big crew.
We had to coordinate and schedule the set dressing several days in advance, as our art department had to transform a plain white-walled room into a moody, dimly lit, 70s-inspired bedroom—with a fuzzy rug, a record player, and wood-paneled walls.
This took many conversations between the director, the production designer, and me about how we were going to achieve that in time, stay within budget, and ensure there was no damage to the location. We were planning to shoot the present-day scenes in the same space shortly after and didn’t have time to bring in a construction team for repairs.
Luckily, my vision and production expertise came in handy, and we were able to work around these challenges and create something beautiful together. I’m very proud of the outcome.
Angel has already been nominated and awarded at several international film festivals. What do these recognitions mean to you personally and professionally?
That is correct! We’ve already received numerous awards and nominations at festivals such as the London Lift-Off Film Festival, Massachusetts International Film Festival, Paris Play Film Festival, and more to come. These recognitions reinforce the passion and dedication I’ve put into this project.
What started out as a dream and took several months of planning and pre-production was ultimately recognized by reputable authorities with great expertise in filmmaking and entertainment. It makes me proud of my contribution to the film.
Are there any specific moments from the Angel production that you’re especially proud of?
One of my favorite moments from the making of the film is the second-to-last scene. Without spoiling too much, it’s a very emotionally charged moment for one of our actors. The director and I worked closely with the actor, Michael Iannazzo, to elicit a powerful reaction and ensure the emotional build-up led to the best possible final take.
The scene involved destroying part of the set, which couldn’t be rebuilt on the fly. In simple words, we had one chance to get it right—and dare I say, we nailed it! Every time I watch the end, no matter how many times I’ve seen it, it always makes me cry. I hope the audience feels the same emotional intensity I do.
Shifting to a different type of production—tell us about your role in the Billboard Women in Music Awards 2023. How did you become the Field Producer for such a major event?
I got the opportunity to work with PRG in their 35! LIVE group—a team known for bringing a cinematic look and feel from filmmaking into the broadcast world. This group handled video production for numerous major broadcast events and shows, including the Super Bowl Halftime Show (2022 & 2023), Beast Games, and Hamilton on Disney+.
For the Billboard Women in Music Awards, I was involved from the very beginning. My responsibilities included participating in production meetings, attending location scouts with the Billboard and Live Nation teams, and collaborating with various production companies and vendors.
I helped ensure a smooth livestream, selected the appropriate technologies for the scale of the event, and helped build the ideal crew to take on the job—key aspects of my pre-production role.
What were your core responsibilities on-site during the Billboard Women in Music Awards? How did you manage the pressures of live event production?
On site, I was present for the entire week of prep and the show itself. I oversaw the video and multi-camera setup, served as the main logistics coordinator, handled deliveries, and acted as the production representative for the YouTube and Twitter livestreams.
My team trusted my attention to detail, team management, and interpersonal skills, which made me a great fit for working with the many freelancers and companies involved in such a major event. The pressure was real—but we successfully navigated a major challenge when the number of users joining the livestream far exceeded expectations. Everyone was thrilled with the final result!
You mentioned that you were one of the few women and the youngest on site—how did that shape your experience on the project?
I found it empowering in its own right. I only have good things to say about my colleagues—I can’t imagine doing it with anyone else. It made me realize that what truly matters is the quality of each person’s character. That’s what shapes your experience as a woman in this field.
How do you balance your work across such different formats—short films, fashion shows, live awards events, and documentaries?
I think that’s what makes me unique in my field. My broad experience in all these formats has helped me understand how they work. Even though they’re different, they share many similarities. From a producer’s perspective, teams are assembled in similar ways, locations are scouted using the same principles, and budgets and logistics follow comparable processes.
Having this wider perspective is a huge advantage—it helps me relate to my crew, regardless of their background. I’ve learned to turn the differences into strengths.
DIRECTOR KYLIE SMITH AND PRODUCER ANA FUCIU COORDINATING THE CREW ON ANGEL. IMAGE: AARON MARKS
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