Meet The Maker: Marty Rush talks early film inspiration, morning rituals and overcoming imposter syndrome

Cinematographer and Director of Photography Marty Rush's little black book is teeming with A-list contacts—he's worked with Priyanka Chopra, Zoe Saldana, Miranda Kerr, Christina Ricci, and Gisele Bündchen. He's also collaborated with powerhouse brands such as Prada, Tommy Hilfiger, and Bulgari.

The filmmaker lives in LA and scales the globe while honing his craft — "I still feel like I’m on the path toward fully defining my voice," he tells us. His work—combining technical excellence with compelling visual storytelling—might well make you think he's already fully designed his voice.

So what's next for Marty Rush? What advice does he have for those starting out in the industry? We sat down with the talented filmmaker to discuss his career highs and lows, his sources of inspiration, the morning routine that keeps him grounded, and how he overcomes the enemy of all creatives, impostor syndrome.

Have you always been interested in film?

I’ve been fascinated with video for as long as I can remember. Even in early childhood, I’d rewatch the same VHS tapes over and over — RoboCop was my favourite. As a teenager, I started filming videos with my friends. We’d all shoot and edit our own movies, then screen them for each other.

While studying, I began taking on paid video gigs and eventually worked as a cameraman for a music TV channel. I filmed interviews with artists at the music shows and spent a lot of time backstage. I loved the way the camera gave me access — not just physically, but emotionally — to new people and stories.

What was the career turning point for you?

In 2018, I was commissioned to work with GQ Russia on their Man of the Year event, filming short fashion-style videos with celebrities and award nominees on the red carpet. I realised this was the direction that resonated with me the most.

Following that first collaboration, I continued working with GQ for four consecutive years, creating the video zones for GQ Man of the Year nominees. Each year, I pushed the production level higher, starting from a very compact setup with just me, a camera, and a gaffer, and eventually building up to a full-scale team of 10–15 people. We incorporated cranes, robotic arms, and more complex concepts.

I was invited to work with Vogue — including creating the video cover for the September 2021 issue, which was part of VOGUE New Beginnings — a global initiative uniting 27 editions of Vogue around a shared message of hope and reconnection in a post-pandemic world.

Has your background and upbringing impacted your style?

I believe personal experience is what makes every creative voice truly unique — no one else has lived your life, with your exact emotions, challenges, or memories. For me, finding my style has been less about inventing something and more about peeling away everything that isn’t me.

I love visuals that feel honest, that don’t try too hard, that allow the moment to speak for itself. I try to avoid heavy effects or overly stylised tricks — for me, the clean rhythm of well-composed frames is more powerful and timeless.

That sense of warmth and positivity in my work definitely comes from my family. I grew up in a very loving, simple household, and I always felt deeply supported. That gives you a foundation — this inner belief that people are good, and that the future can be bright. And that’s what I often try to communicate through my visuals: love, light, and human connection.

What defines your approach?

Regardless of whether it’s a commercial or a creative piece, I always want to move the audience somehow — to surprise them, to inspire them, to spark an emotional response. That, to me, is the whole point of video: to connect.

I try to make sure the work feels honest and emotionally clean. I aim for simplicity and restraint — visuals that stay minimal and intentional, without being over-processed or filled with effects. If something is going to leave a mark, it has to be truthful and aesthetically timeless.

Can you tell us about some of your career highs and lows?

If I had to name a single experience that was both a high and a low, it would be my move to the United States. For years, I dreamed of working in a different country — I wanted to gain new perspectives and challenge myself in ways that would help me evolve as a creator. And in many ways, that’s exactly what happened.

But of course, it also came with its own setbacks. Moving to a new country meant starting over — rebuilding my network from scratch, finding new collaborators, and proving myself all over again. Even the most basic things — like figuring out where to live or how to navigate day-to-day life — had to be re-learned.

The kinds of projects I had built up to — including shoots for brands like Prada and Ulyana Sergeenko — didn’t immediately translate to the US market. I had to reintroduce myself, build trust again, and start from zero. But looking back, I wouldn’t change it. That process taught me resilience and gave me a much deeper understanding of what I truly value in both life and work.

Advice for someone feeling impostor syndrome?

Honestly, I think impostor syndrome is something every creative person feels at some point, especially if you care about what you do and are self-critical in a healthy way. It’s actually been interesting for me going through the O-1 visa process, because I had to collect all my past work. And seeing it all in one place — the projects I’ve done with global brands and talent — helped me realise: maybe I’m not so bad after all.

Of course, every time I watch something that inspires me, there’s also that little voice saying, “Wow, I’ve still got a long way to go.” But I’ve learned to turn that anxiety into excitement — into anticipation. If you can flip that doubt into a sense of possibility, into the thrill of knowing there’s still so much ahead, it becomes fuel. That feeling — that the best is yet to come — is what keeps me moving.

What’s your one piece of advice to those who want to succeed in your industry?

Work on your communication. That’s the key to success in any industry, especially in fashion. Video is just one part of the job. People often choose to work with you not only because of your creative skills, but also because of how you communicate.

If you stay in touch, deliver on time, follow through on what you say, and are someone others can rely on, that goes a long way. It builds trust. I know incredibly talented creatives who make amazing visuals, but struggle with communication, and that slows down their growth. Being good at what you do is important, but being easy to work with is what really builds longevity.

Do you have a morning ritual that sets you up for the day?

My ideal morning starts slow. I take a shower, stretch a little, and then have breakfast with my wife. She’s a Pilates coach and a nutritionist, so our breakfasts have become a kind of ritual. She usually makes something delicious and healthy, and we watch a short series episode or a YouTube video while eating. I really value that time together in the morning. It’s a small window where the day still feels calm and grounded — before I dive into full creative mode, which usually consumes me entirely.

That’s the ideal version. Of course, in reality, when I’m in the middle of an intense project, it’s not uncommon for me to open my eyes and immediately grab my phone to respond to messages. And I definitely feel the difference — those days tend to carry a different kind of energy.

How do you get your energy back up if you’re feeling a little low?

That’s actually a very relevant question for me, and something I deal with quite often. Freelance life isn’t consistent: you’re either in a high-speed production cycle or in a quiet in-between. During those intense phases, the lack of sleep, pressure, and constant decision-making can really drain you.

If I have a day or two off, I make it a point to do absolutely nothing productive. I stay home, watch videos, read, nap, or just completely check out. It’s my way of resetting without guilt. Being by the ocean is the ultimate reset button for me. That energy from nature really brings me back to centre.

What does success mean to you?

To me, success is when the best of the best choose to work with you — and come back again. That’s not just about technical skill — it’s about your approach, your creative vision, your ability to create something unique. That kind of trust is a huge honour.

For example, during my work with Fashion2Max, I shot several projects with Priyanka Chopra. We first worked together on a Bvlgari video ahead of the 2023 Met Gala, and then collaborated on multiple Max Factor campaigns, where she’s the global brand ambassador. In fall 2024, when Max Factor launched in India, I was flown from Los Angeles to Mumbai to oversee all the video content and ensure Priyanka looked perfect in every frame. Being entrusted with that kind of responsibility — across the world, for a global star — that’s what success means to me.

Do you still have a big dream, or have you already achieved it?

Funny enough, when I was 18, I got a tattoo on my chest that says “Dreams come true.” And in a way, that became my life motto — because honestly, so many things that have happened in my life feel like they can’t be explained by anything other than pure luck or some strange kindness of the universe.

Maybe it’s connected to something my family does — after every conversation, we always wish each other luck. Especially my grandparents. They always end their messages with: “удачи, удачи, удачи” — “luck, luck, luck,” three times in a row. And I’ve always felt those words deeply.

So yes, I’m getting closer to my dreams — but the dream itself keeps evolving. It gets bigger, more layered, more meaningful. And I think that’s the beauty of life — the fact that it’s a never-ending process. As long as you have something to reach for, and that fire inside is still burning, you’re exactly where you need to be.

What’s one object that’s extremely precious to you?

This one’s very personal — but I think I’m ready to share it. Whenever I visit my family, my mom usually writes me a letter by hand on a simple piece of notebook paper and gives it to me right before I fly back. She always tells me to read it on the plane.

It’s such an emotional moment — the kind of letter that can bring tears to your eyes mid-flight. I keep them tucked into the back cover of my passport, so they’re always with me, wherever I go. These letters are a quiet, powerful reminder that no matter where I am or what I’m facing, my family is always behind me. And that gives me a kind of strength nothing else can.

THE CULT LIST

We're asking creatives to share their under-the-radar recommendations, from secret exhibitions to underrated restaurants, little-known fragrances and fashion brands, and treasure-filled thrift stores or classic movies and TV shows.

'A24 titles I keep coming back to'

I’ve always had a soft spot for independent cinema, and A24, to me, is the gold standard for giving directors real creative freedom.

Their films might not always have blockbuster budgets, but they more than make up for it with authenticity, voice, and bold storytelling. It’s that space for individuality that makes their work so memorable.

Here are five A24 titles I keep coming back to — I wouldn’t rank them, but they’ve all stayed with me:

• Mid90s (2018) — Directed by Jonah Hill
A raw, nostalgic coming-of-age film that captures the skate culture of '90s LA with real heart and grainy beauty.

• American Honey (2016) — Directed by Andrea Arnold
A road trip film like no other — messy, sun-drenched, loud, and strangely tender. It drops you straight into the chaos and freedom of youth on the edge.

• The Disaster Artist (2017) — Directed by James Franco
A hilarious and unexpectedly touching look at the making of The Room — widely known as the “worst movie ever made.” But it’s also a love letter to all outsiders with a dream.

• Friendship (2024) — Directed by Andrew DeYoung
A newer A24 comedy with the brilliantly unhinged Tim Robinson. His timing, tone, and writing are so off-kilter it’s perfect. One of the weirdest and funniest things I’ve seen recently.

• The Florida Project (2017) — Directed by Sean Baker
This one introduced me to Baker’s work. It’s heartbreaking and beautiful, told from a child’s perspective just outside Disney World. After Anora swept the Oscars this year, it’s the perfect time to revisit where Baker’s magic really started.