Photo Credit: Bradley Korman 2017

Photo Credit: Bradley Korman 2017

About

Heather La Kor is a creative filmmaker with the knowledge and the skills to produce, direct, and design video and still media. 

Heather grew up in NYC and has always had a passion for storytelling ever since her mother use to read picture books to her in a rocking chair. She is a crafter and a foodie fanatic who loves to swim and play the ukulele in her free time. 

After graduating from the University of Michigan in 2009 with a dual degree in English and Screen Arts and Cultures she moved to New Orleans to pursue a career in the burgeoning film production world there. 


Photo Credit: Hilary Gayle 2015 on the set of "Trumbo"

Photo Credit: Hilary Gayle 2015 on the set of "Trumbo"

New Orleans:

During that time Heather worked her way up the Art Department ladder holding many different positions including: prop and food styling, set decoration, and art direction. Some of the titles she worked on included: Oscar award winning '12 Years a Slave' (2013), Seth Rogan and Evan Goldberg's 'This is the End" (2013), 'Midnight Special' (2016) 'Terminator: Genysis' (2015), 'Roots' (the 2016 miniseries reboot) and many more.

Click here to see Heather's IMDB


New York City:

For the past year Heather has been the creative director at Remarque Creative, a boutique media company based in East Williamsburg, that she runs with her brother, Brad. As creative director, she creates proposals for new clients, schedules shooting and directing multiple video segments for a diverse number of businesses as well as managed the captured media to completion through the editing process. 

Photo Credit: Daniele Colombera 2016 on the set of "Terminator: Genysis"

Photo Credit: Daniele Colombera 2016 on the set of "Terminator: Genysis"


 

Prop Work:

Photo Credit: Michael Martin 2016

Photo Credit: Michael Martin 2016

Working in the property department for film and television means learning a lot about a wide variety of topics as the script requires. It not only involves finding the exact object the script calls for, it also requires being prepared for just about anything.

Prop styling makes one think constantly in terms of contingencies: what might come up outside of the script in any given scene. The field also requires knowledge in a broad range of topics, from food styling, to guns and ammunition, to historical documents, to graphic design and printing- the list goes on and on.

Since most projects are shot under strict deadlines, it is imperative that everything be procured in a timely fashion and with regard to budget. As the Prop master, part of the job description is to determine the budget and cost for all of the items needed to be bought, rent and filled-in from one's kit.

 

Once the props are acquired, there are meetings and presentations to the director, actors and the unit production manager.

Usually a look-book is submitted for feedback and approval, with a budget. Each script is as vastly different as each director and production designer's tastes.

A large part of prop styling consists of dealing with the actor's needs and ideas for their character's props, which are often very personal items. For historical pieces, we do an extensive amount of research to make sure we are accurately representing the time period and because it is a vital part of the actor's process. 

On set, the prop department is responsible for all personal props for each actor, director's chairs, on screen food, weapons, flyers, hand-outs, etc. If the actors touch it, we keep track of it.

The property department requires the utmost attention to detail for a number of reasons:

1- Continuity: as each shot is dependent on the one before it, it is imperative that the props be tracked and consistent between takes as well as scenes, even if one part of the scene is shot in NYC and finished in NOLA.

2- Storage and Organization: we handle many things of varying value and are responsible for keeping them safe and secure through out shooting and through wrap. This includes product placement merchandise that needs to be returned in good condition to the companies who sent them in the first place. Additionally, it means storing everything in a comprehensible fashion in case of re-shoots.

3- We facilitate the production of original content for photo shoots, magazine covers, short videos and produce media to be used in the shooting of the film.

4- Contracting vendors to create custom designed and original pieces including: graphics, sculptures, specialty tools and 'gags'.

Check out more examples of Heather's past work: