By: Sheila R. Brown, VP, Equity & Inclusion, AICP
We are excited to welcome back Okema T. Moore, a dynamic creative force and alum of the very first AICP Mentoring Program cohort, for a special catch-up session. Since her time in the program, Okema has continued to thrive as a producer, director, and writer, bringing powerful stories to life across screens and platforms. Her career journey reflects both hard work and the resilience it takes to carve out space in this industry, and we look forward to hearing about her experiences and what’s next for her.
Please share what your career was prior to joining the mentoring program.
When I joined the AICP Mentorship program, I had done a host of branded series for YouTube when kids content was in the DIY era, but I had not done singular branded or commercial work and not as the sole director. The Minorities In Film Branded Directing Fellowship got me focused on branded and commercial work and introduced me to the program as a part of their inaugural fellowship run.
Who was your mentor and what was that experience like?
My mentor was John Moran who at that time worked at Reset. He was present, kind, generous with his time and information, would give me feedback on my work, and ensured I got a shadow opportunity on his company's NYC Loreal commercial. To date, we still are connected, exchange holiday cards and gifts and he's still a resource.
What has been your journey since participating in the program?
Since the program I was blessed to see my career take on a wonderful trajectory across the board. I have directed branded and commercial work for Lifetime, Disney/Marvel, Healthcare.gov, Ally Bank, and more. I've also done well in unscripted, developing and producing the GLAAD Nominated Down in the Valley for STARZ and winning a silver Telly Award for directing and producing the TrailBlazer Award package for Lillian Benson at the 2025 Black Public Media PitchBLACK Awards. In scripted work, I produced the Oscar qualified, NAACP Image Award nominated short Chocolate with Sprinkles and my latest short Laundry won the Black & Unlimited Director's Showcase at this year's American Black Film Festival.
Even with all of these highs, let me share that there have been a HOST of lows. As a Black, female director, I am only tapped into tier zero work for the most part. I am NOT the girl that gets the call or the shot for larger brands and commercial work. I have never made a top tier day rate and of late, finding work that even pays rates that I made in 2022-2023 is still not present. Post strikes, finding ANY work has been really hard, and what is out there, has been barely enough to eek out a living, so I am hoping that I can use my present scripted accolades to help me get more visibility by the larger agencies willing to take a chance on a creative, imaginative director looking to finally level up.
What are you most proud of as it relates to your career?
I'm most proud that I can literally track my growth by my work and credits. The ability to see something as simple as my CV or IMDB and see how the titles grow and the work. I am also proud that I've done it with little drama and my reputation intact. I don't use the word humble, as I know that many can use that as a way to diminish and dilute your glow, but I do employ more humility than hubris, while still standing in the confidence of my worth and my talent, but seeking to be a forever student.
What have you not done that you still aspire to do?
I want to direct an Amazon commercial and a car commercial. The aesthetic of Amazon commercials really exemplifies my own dry wit, my imagination, my love of old fairy tales and my love of hip-hop. And I love car commercials because the really good ones are not about the car, as much as ethos and emotion, while ensuring the VISUALS are all about the car. LOL...A good story, a long highway and a sun flair can go a long way if done properly!
Is there a client you have not worked with that you would like to work with as a commercial director?
Again, Amazon. I'm OBSESSED with Adidas, a host of Black brands like Telfar, Pattern, Carol's Daughter, and The Lip Bar. And of course, I'd love to do a car commercial for either Kia, Ford, or Audi. As far as talent, I'd love to work Viola Davis, Naomi Osaka, and Coleman Domingo.
Is there anything that you would like to share that I have not asked about?
Just that commercials tell a host of stories, in a small amount of time, and that makes what we do special. It's a gift to do it, and do it well. Given that now there are not set rules of how that story should or has to be told, I am excited for opportunities to work with both big brands and mom and pop outfits to create amazing pieces that drive engagement and enjoyment.
If you are looking for an incredibly talented director for an upcoming campaign, you can reach Okema by email at okema@moorethanenuff.com. You can follow her at @okematmoore on IG and Threads. Okema’s website is MOOREthanEnuff.com.
If you are interested in learning more about the AICP Mentoroing Progam, reach out to Sheila R. Brown at sheilab@aicp.com. If you are interested in volunteering to be a Mentor for future cycles, please email Brian Doherty at briand@aicp.com.