Emma D. Miller

Emma D. Miller is a documentary filmmaker and creative consultant based in Los Angeles. She has worked on documentary projects from inception to release for partners including Netflix, Showtime, Amazon, Apple TV+, and PBS’s Independent Lens, and her films have been supported by Sundance Institute, JustFilms | Ford Foundation, International Documentary Association, Field of Vision, Austin Film Society, and The Gotham Documentary Lab, among others. She recently produced Iliana Sosa’s debut nonfiction feature WHAT WE LEAVE BEHIND, which won two Special Jury Awards at SXSW 2022. WHAT WE LEAVE BEHIND was named a New York Times “Critic’s Pick,” nominated for a Gotham Award for Best Documentary Feature, and released in select theaters and on Netflix by Ava DuVernay’s ARRAY Releasing. In her role as development executive for nonfiction at Concordia Studio, projects included TIME (Oscar nominee, Sundance U.S. Documentary Directing Award, Amazon), BOYS STATE (Sundance U.S. Documentary Grand Jury Award, Apple TV+), BLOODY NOSE, EMPTY POCKETS (Sundance, Berlin), HOMEROOM (Sundance Editing Award), PROCESSION (Netflix, Oscar nominee), and BITTERBRUSH (Telluride). Emma headed development of new projects for Edgeline Films, served as the casting associate for the first season of Edgeline's acclaimed Showtime series COUPLES THERAPY, and was associate producer of the Oscar-nominated short documentary KNIFE SKILLS, which was acquired by The New Yorker/Condé Nast Entertainment. She was also associate producer of the Sundance award-winning feature documentary UNREST, which was broadcast on PBS’s Independent Lens and shortlisted for an Academy Award. Previously, she was programming manager at the Full Frame Documentary Film Festival in Durham, NC, where she oversaw all submissions to the international festival and managed the film selection process. Emma was named one of DOC NYC’s “40 Under 40” in 2022. She is currently producing Elizabeth Lo’s UNTITLED MISTRESS DISPELLER PROJECT (Impact Partners / Anonymous Content). She loves projects that capture and instill the wonder of being alive, and offer new ways of seeing the world.

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Associate Producer:
2017  Unrest

Director:
2017  Unrest
2024  The School of Canine Massage

Producer:
2017  Unrest
2022  What We Leave Behind
2024  Mistress Dispeller
2024  The School of Canine Massage

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

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  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.