Ideas that Stick: Julia Glausi on Producing A24's Latest Hit "Heretic"
JULIA GLAUSI is the Head of Film & TV at Beck/Woods and a producer on the A24 film HERETIC, starring Hugh Grant -- now in theaters.
What inspired you to pursue a career in entertainment, and how did you get your start in the industry?
As a kid, I loved watching and making movies. Being the oldest of six kids, I often used my younger siblings as my actors. Eventually, I went to film school and moved to LA to pursue various internships.
Producing was my long-term goal, so every job I took in the industry helped me to build upon my undergrad education and explore facets of the business that I was curious about.
I worked in acquisitions, talent management, and development, and those three experiences led me to secure a position at CAA in the independent film finance group called Media Finance. I was there for four years, and I loved it.
Then, I decided I wanted to return to my original goal of producing.
I had been talking to Scott and Bryan about potentially teaming up, and I ultimately pitched them the idea of me formally joining Beck/Woods and putting my energy behind their projects.
They agreed, and here we are. I was so proud to get a film in production in the first year of us working together. It’s been fantastic.
What advice would you give to your former self?
To my former self or anyone pursuing a producing/executive path, I’d say: spend time learning, build meaningful relationships, and be specific about your goals.
It’s okay if it takes time to figure things out.
All of my experiences have been valuable, and I lean on the relationships I built, even from my acquisitions days, every single day. It’s truly come full circle.
Congratulations on the release of your A24 film Heretic! What key lessons have you learned from the producing process?
Yes, Heretic has been so exciting! Hugh Grant’s performance is incredible, and it was such a joy to work with him. And A24? They’re as fantastic as everyone says.
As a producer, I learn so much every day. In my position, I work with filmmakers. I think knowing how to collaborate and being humble yet confident is so important.
My ultimate goal is to protect the intention of the screenplay, protect the vision, and assemble the resources.
Every single job I’ve had requires a certain amount of time to really be in tune with the company’s goals and mandates. That is the number one priority: making sure those goals and mandates are met.
That’s also the fun part about being at a company like this. We’re focused on high-concept, original genre movies, so other filmmakers, producers, and reps know exactly what kind of projects to send our way.
When I was at CAA, I was working on what I thought I could sell.
In my current job, I now focus on whether a movie is one we can’t not make, and if I will wake up every single day with ideas, vigor, and enthusiasm about the project.
As an executive, how do you maintain a healthy work-life balance and avoid burnout creatively and physically?
Great question! Recently, I’ve been learning how to balance motherhood with work and producing.
I think putting your physical and mental health first is most important. You won’t be able to service the movies if you aren’t taking care of yourself.
Having hobbies outside of work is also valuable. A few months ago, I wrapped up doing an adult kickball league, if you can imagine that!
While folks outside the industry use media to relax, those of us in media may find that watching movies or TV is also part of our work.
So, finding something else that you can do socially or for fun is really helpful for maintaining balance.
With Beck/Woods focused on horror and sci-fi, what kinds of projects are you excited to explore in the future? What advice do you have for young filmmakers in getting their movie ideas made?
We’re always looking for what’s different and what hasn’t been seen before—something that’s left of center.
Scott and Bryan came up with the idea for A Quiet Place years before they finished the script and took it out.
It’s those ideas—the ones that stick and you keep coming back to—that stand out to the folks you’re pitching to and selling to.
That’s also advice I like to give to the next generation of filmmakers and screenwriters: write what you’re excited about.
Write the idea that stays with you, that you can’t get out of your head, because those are the ideas that will last.
This industry is so fickle, and trends are very cyclical. Five years ago, if you told me that everyone wanted to buy rom-coms and rom-coms were breaking records, I would have laughed. But now, the lighthearted rom-com is what people want to watch.
It’s a testament to writing what you’re excited about, and how the market will eventually catch up or re-evaluate. That’s exciting.
What changes would you like to see in the industry to better support and elevate women in leadership?
I’ve been very fortunate. At every company I’ve worked at, there have been women in leadership whom I’ve been able to look up to, learn from, and grow with.
We produced Heretic with Stacey Sher, and she’s one of my heroes.
I believe mentoring the next generation is really important, whether through participating in different mentorship programs or by hiring more women and bringing up the next generation.
I’m so grateful to the generations who have paved the way, like Stacey, and also to the focus on empowering women in this industry over the past decades. I’m a lucky benefactor of that and hope to pass it forward.