Heather La Kor is a creative filmmaker with the knowledge and the skills to produce, direct, and design video and still media.
Heather was born and raised in NYC and has always had a passion for storytelling ever since her mother use to read her picture books every night before bed. 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.
From 2009-2015 Heather worked her way up the Art Department ladder holding a variety of positions including: prop and food stylist, set decorator, and art director.
Some of the movie 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 three years, Heather has been a video producer and director at Remarque Creative, a boutique media company based in East Williamsburg, that she runs with her brother, Brad. Her responsibilities includes creating proposals for new clients, scheduling shoot days and directing multiple video segments for a diverse number of businesses. She also manages the captured media through the editing process to completion.
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 The field also requires knowledge in a broad range of topics, from food styling, to guns and ammunition, to historical documents, to graphic design and printing- the list goes on and on.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.
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.