Emmy-nominated director, writer, and producer Roxanne Messina Captor is a fierce advocate for California’s creative workforce. Working as chairperson for the California Arts Council, serving on the Creative Economy Workforce committee, and working alongside Governor Gavin Newsome to expand film tax incentives, Captor has a passion for arts action. To learn more about Roxanne Messina Captor and her upcoming projects, read on.

Where are you based?
Los Angeles. Although I have lived in Chicago, NYC, San Francisco, Atlanta, Paris, Brussels, and Asia.

What inspired you to pursue a career in entertainment and the creative industries?
I was a child performer in theatre and musicals, as well as having my own local CBS television show. At 12, I became a member of the Chicago Lyric Opera Ballet. My career continued from there to NYC—ballet and Broadway—then to Los Angeles, working with Francis Coppola and Gene Kelly. Later, I moved into producing, directing, and writing, earning an Emmy nomination, a Humanitas Award, the Chevalier des Ordre des Arts et des Lettres, and the Visionary Award from the ARPA Film Festival.

You were an executive producer on the film “A Dickens of a Christmas,” which is premiering at the Newport Beach Film Festival. Can you tell us a bit about this film and how you ended up working on it?
I knew the writer and liked her work. This was a fun film with a magical twist, so it intrigued me. We found the funding and the production services team in Canada and used the tax incentives to make up the balance of the budget—and voilà!

Also premiering at this festival is a documentary series you directed and produced, “Stanley Clarke: Rhythm and Harmony.” What can viewers expect to see from this film?
Stanley is a great artist with a social conscience. He says in the film that “Art is the great equalizer.” This is something I believe and have believed for years. Art keeps the soul, mind, and body together. Artists see the world differently—it is their responsibility to bring that vision to others. Stanley’s work with the Santa Monica College musicians is both giving and extraordinary. Using students from my Media 21 class at SMC brought the project full circle.

You were recently a keynote speaker at the Creative Economy El Segundo and Beyond event, where you focused on what artists bring to the community. Can you summarize what you talked about and why artists’ contributions are so important?
The arts in the United States are vibrant and deeply woven into the fabric of our democracy. From Broadway to community theaters, from digital design studios to neighborhood murals, the arts tell the story of who we are and who we aspire to be. The arts and cultural industries contribute over $1 trillion annually to the U.S. economy, supporting more than 5 million jobs nationwide. This includes not only performers, writers, and visual artists but also technicians, educators, designers, digital storytellers, and the vast network of workers who make creative production possible.

But the state of the arts is not measured in economic figures alone—it is measured by how the arts strengthen civic life, build empathy, and offer every American, no matter their background, a chance to see themselves reflected in our nation’s cultural mirror.

In every region, the arts drive tourism, revitalize downtowns, and anchor local identity. The creative economy is one of the most exportable and resilient sectors of our national economy.

You were appointed by Governor Gavin Newsom as Chairperson of the California Arts Council. Can you tell us more about this council, its goals, and your involvement?
My vision is for a thriving, inclusive, and sustainable creative economy. We have an opportunity to expand arts education, support emerging and underrepresented artists, and leverage technology to broaden access to arts experiences. Investing in the next generation of creators strengthens California both culturally and economically. As an educator, I do this in all my classes. People gave back to me, and now I am giving back to others.

According to data from the U.S. Bureau of Economic Analysis, the arts and cultural sector contributes $230 billion annually to California’s economy—approximately 7% of the state’s GDP—making California’s creative economy one of the largest in the world.

The arts directly employ nearly 750,000 workers in California, spanning theater, music, film, design, museums, and digital arts. When including indirect employment—stagehands, technicians, venue staff, marketing firms, and the hospitality industries that benefit from cultural tourism—the number swells to more than 1.6 million jobs. Arts increase tourism, which generates revenue for the state.
The arts are the ultimate equalizer. “Put art in the hands of children, not guns!”

You are also a major advocate for California’s creative workforce and have worked alongside Governor Newsom to expand film tax incentives, serve on the Creative Economy Workforce Committee, and sit on the board for the California State Summer School for the Arts. Can you tell us about this work and what you hope to accomplish in the future?
The creative economy in California is an intertwined and generative ecosystem that adds exponential value to our state’s creative, cultural, and business economies in ways that foster income generation, job creation, and innovation.

As we look to the future, let us imagine an America where every child grows up believing their creative voice matters, where the creative economy is as valued as manufacturing or technology, and where initiatives like California’s are scaled nationally to ensure opportunity for all.

The arts are our inheritance, and they are our gift to the generations to come. Together, let us ensure that the state of the arts in America is not only strong but unstoppable.

Why is expanding and uplifting creative careers and industries so important to you?
I transitioned from professional dancer to filmmaker, educator, and theatre director—not an easy transition. As an artist and one of the founders of the Career Transition for Dancers program, it is always devastating when artists are treated as though they are not part of the serious workforce of our country. Dancers’ careers often end just as most people’s careers are beginning. What CTD does is reevaluate the lessons dancers learn at a very early age. These skills—discipline, hard work, perseverance—are then applied to the broader workforce.

As a working professional dancer, I needed my parents to co-sign for an apartment, even though I was making a good living. The concept that artists are flaky and transient is so untrue! Artists bring a wealth of knowledge, skill, and enlightenment to communities.

In the wake of AI and our current economy, how can we best protect and support our creatives?
Ultimately, the goal is to build a governance and economic structure where technology—particularly AI—serves human artistry and economic security rather than undermining it. This requires ongoing dialogue and collaboration among creators, technologists, policymakers, and industry leaders. AI needs to be embraced, not feared. It can be a great tool in the hands of creative artists and professionals.

Do you feel it is a harder time than normal for creatives? If so, why? What do you feel are some of the largest obstacles for artists these days?
Cuts in government and private funding. What most artists have relied on to bring their projects to fruition has been reduced. The CAC’s budget has been cut. In July 2025, the House Appropriations Committee proposed funding the NEA at just $135 million—a 35% reduction from current levels—though still allowing partial continuation. This cut, however, threatens the NEA’s historic role in supporting state and regional arts agencies. The implications are widespread.

As a 3x breast cancer survivor, how has going through that changed your mindset when it comes to your career and personal life?
I was very clear that I did not have time for cancer. I was a busy woman with a greenlight on a movie at CBS and a pilot for a series I was writing for ABC. I wrote two articles that were published about not having time for cancer. All my doctors and nurses knew that. My oncologist said I created my own healing. The chemo had a hallucinogenic in the cocktail—at night I would be bouncing off walls. I decided I was taking my money, moving to France, eating great food, and drinking great wine. No more chemo! By the morning, I was asleep. However, I did just that years later after attending the Cannes Film Festival.

What advice do you have for someone who is dealing with, or has a loved one dealing with, cancer?
Be there for them. Human interaction and touch are the best medicine. Be patient. I was surrounded by the most supportive, kind, and loving people—family and friends. One day, a friend was taking me to chemo, and she, her husband, and son had drawn funny characters on barf bags for me. You never forget these acts of kindness.

What advice do you have for young girls who want to pursue creative careers?
Perseverance, persistence, passion, discipline, and determination. Without these, one cannot succeed or live through the tough times.

Are there any upcoming projects you are currently working on that we should be on the lookout for?
Yes! All my projects share a theme of looking beneath the surface—discovering what’s really going on.

“Pearl” – A piece about the life of a Nobel and Pulitzer Prize–winning author. Buck changed laws so interracial adoption became legal. Her foundation continues to save hundreds of Eurasian and Amerasian children. With all her accomplishments, Pearl tells her sister she would give it all up to have one more natural child—her only natural child was mentally challenged.
Series: “CIA Mom” – The true story of a woman who was a CIA operative and a single mother at the same time.
“Legacy Robe” – Follows young hopefuls as they strive for Broadway and the coveted robe.
“Murder in First Position” – Based on a series of books. A prima ballerina and a detective solve murder mysteries after the ballerina is wrongly accused of a crime.
“The Salon” – Based on the film A Couple of White Chicks at the Hairdresser. A multi-generational, multi-ethnic series with a deaf lead character exploring the secrets revealed in the intimate world of a salon.
“The Trujillos” – An honest look at a Latin American family and all their trials and tribulations.

It has been a rough few years, and we expect at least four more. How have you been staying positive?
Stay creative, keep working, and surround yourself with positive, dynamic people who are living their dreams. I had a passion project I wrote and was set to direct. All the pieces were in place—A-list cast, financing, top executive producer—and one day, close to Christmas, the financing fell through. The company didn’t get the funds they had anticipated. I was devastated. A prominent actor and friend said, “You have two choices: you can go to bed for a month, or you can find another project and make that.” That’s how A Couple of White Chicks at the Hairdresser, with Shelley Long and Harry Shearer, got made.

What is your motto in life?
Live each day to the fullest. Never deviate from your path and goals by letting other people’s fears or agendas influence you.

To learn more about Roxanne Messina Captor, please check out the links below:
roxannemessinacaptor.com
Greenlight Women
Instagram: @rmcfilms
Facebook: Roxanne Messina Captor
LinkedIn
California Arts Council
Newport Beach FF
Cannes FF

Roxanne Messina Captor - Keeping Busy In The Arts