Rob Meyer is a filmmaker who thrives at the intersection of narrative and documentary storytelling. With award-winning films like A Birder’s Guide to Everything and Aquarium, as well as acclaimed series like Anthony Bourdain’s Raw Craft and Quest for Craft, Meyer has established himself as a versatile and visionary creator.
In this interview, he delves into the moments that sparked his passion for filmmaking—from childhood VHS spoofs to directing a young Jeremy Allen White—and shares his insights on crafting compelling stories, managing client expectations, and the importance of professionalism.
FILMSUPPLY: What initially sparked your interest in filmmaking?
Rob Meyer: As a kid, I loved making movies with my dad’s camcorder (VHS, which definitely dates me). These were your classic spoofs, horror films, and comedies with friends.
In college, I actually played the violin in the symphony. And every year, we performed a midnight Halloween Concert, where the orchestra would provide a live soundtrack to a parody version of a Hollywood movie, transposed to our campus. I wrote and directed parodies of Batman and Indiana Jones.
Believe it or not, these events were big hits on campus: sold-out crowds of thousands, laughing and cheering. That’s where I really got the bug.
What have been some pivotal moments, relationships, or projects that shaped your career?
Rob Meyer: I went to NYU for graduate film school and made a short called Aquarium, which starred a young Jeremy Allen White. He was around 14 years old, and I think it was the second film he’d ever done.
It was based on my awkward, nerdy teen years. More than anything, the tone of that film really worked for people and helped establish my film career. It also got into Sundance and won a prize there, which gave me a boost of confidence.
Talk to us about some of the most memorable projects you’ve worked on
Rob Meyer: Getting to work with Sir Ben Kingsley and an amazing cast of young actors on my first feature, A Birder’s Guide to Everything, is always going to be hard to top.
I then made a series with Anthony Bourdain called Raw Craft and, more recently, the Quest for Craft series with Questlove. Both were short doc series created around the personalities and voices of those two iconic hosts.
We filmed Quest for Craft at the legendary Electric Lady Studios in NYC and worked with super-inspiring guests. It’s also the project that got me familiar with Filmsupply, which provided tons of footage for our intros and “rabbit hole” films.
What elements do you think are essential for crafting a compelling story?
Rob Meyer: My short take on this is that story and character are two sides of the same coin. You need a protagonist who draws you in and is missing something important at the start of the story.
After the inciting incident, you need the story and plot to reflect the personal journey of your main character. Achieving that is really hard. My writing partner, Luke Matheny, always likened it to the scene in Top Gun when they pull off an inverted fighter jet stunt.
Another concept that I think about a lot came from a writing professor, Hampton Fancher: A good script needs wheels (the stakes/suspense/drive), blood (heart, authenticity), and ink (the actual writing). For me, the wheels are always the hardest part.
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How do you manage client expectations while pushing the creative boundaries?
Rob Meyer: I think it’s about understanding the assignment. Sometimes, clients really don’t want you to push, and that’s OK. In those cases, I aim to work within their parameters and still deliver something I’m proud of and is beyond their expectations.
On our initial creative calls, I try to put everyone at ease and draw out an understanding of who the audience is and what “success” looks like. I’d rather ask potentially dumb questions than make the wrong assumptions.
Once I fully understand the goals, I know what sort of creative push would be welcome, rather than feeling like I have a competing creative agenda.
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What advice would you give to aspiring filmmakers who are working their way up the ranks?
Rob Meyer: Be professional—and make sure you know what that entails. Show up on time, work hard, over-deliver, and treat everyone well along the way. Talent is great, but when I’m looking to hire people these are the traits I value the most.
And when you’re between jobs, go out and make stuff. Make projects that reflect who you are and what you are passionate about. Don’t wait for someone to hire you to do that (you might be waiting for a long time).
That was one of the great advantages of going to film school: it was permission to make your own passion project and take it seriously. But you don’t need to go to film school to do that.
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Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Rob Meyer: I’m a big fan of Filmsupply. Calling Filmsupply’s footage “stock,” though, feels inadequate. It’s beautiful, curated filmmaking that fits seamlessly into my work (and is often available in LOG!).
The fact that the filmmakers share directly in the revenue of the licensing also feels good. And the folks who work at Filmsupply are passionate about what they do and are great resources in helping you find the right shots.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Rob Meyer: I come from a music background, so I’m definitely interested in good pacing, rhythm, and syncopation. But more than anything, I gravitate toward substance over style.
So if the edit works for me emotionally, tells a story, and leaves an impression, that’s what I’m most interested in—not how clever the edits are or how well it works with the music or sound design.
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This was written as a part of Filmsupply Editfest 2025. Want to learn more?
