David Glorioso

I made my first films five years before I ever stood on a real set. They were built in Blender, out of necessity more than choice: without a budget or a crew, animation was the only place I could build the sets and camera setups I wanted to shoot. That's where I first learned to compose a frame, plan a camera move, and light a scene. The instinct to work it out before I shoot it hasn't left me since.

Last summer, that groundwork finally reached an actual set. I worked as camera utility on Leap Year, under director Quinn Moore and his brother, DP Cameron Moore, retrieving and setting up camera and lighting equipment for the crew. I spent the rest of the summer in a filmmaking program at Five Towns College.

This summer asked more of me. SOCAPA's Advanced Filmmaking Intensive put me behind the camera for seven productions in three weeks: I directed two of the shorts myself and crewed on the rest. Two more productions have run alongside it, both still shooting. I'm Director of Photography, handling lighting, editing, and sound, on a short Cate McLees wrote and directed. I'm also Assistant Camera, with a brief turn as a background extra, on the Moore brothers' next feature, the same two who first brought me onto Leap Year.

Of everything I've made, I'm proudest of A Really Shitty Date, a short I wrote and directed myself. It won Best Overall Film and Best Directed Film at the 2025 LI72 Film Festival.

None of it began with a camera. Theater came first, including playing Albus Severus Potter in Harry Potter and the Cursed Child as a freshman, and it's still where I learned to think about blocking, pacing, and performance. I just practice it from behind the camera now, rather than in front of it.

Full credit history and resume available on LinkedIn ↗ and IMDb ↗.