Michael Leon is a director and visual storyteller based in Miami, Florida. He is the founder of DuskHouse, a boutique production company specializing in high-concept commercial work and VFX-driven storytelling. He also freelances as a director and VFX supervisor, collaborating with production companies and ad agencies.

Michael Leon began his career in 2018 as a cinematographer and editor at CBS Television Stations, where he produced hundreds of commercial, promotional, and corporate projects. In parallel, he developed a portfolio of independent work, gaining recognition for directing and VFX-supervising award-winning commercial specs such as Fireball Whisky: Burns Like Hell (4 Tellys, 2 Oniro Awards), and short films like In the Dark, which won over 35 festival awards.

In 2024, he signed with PPC Directors Agency for international representation. His past collaborations include brands and agencies such as Red Bull, NBC, Hyundai, Scheme Engine, InnerCat Music Group, and others. He is currently in post-production on a new cinematic spec campaign and actively pitching branded work under the DuskHouse banner.

Michael Leon holds a BFA in Digital Film & Video Production from Miami International University of Art & Design, and brings a hybrid creative-technical approach to directing—combining visual storytelling, practical production, and hands-on VFX execution.

Hi Michael Leon! Tell us about who you are and where you are from.

I’m Michael Leon, a director and filmmaker based in Miami, Florida. I specialize in dark-fantasy storytelling and vfx-driven content, often blending practical production with CG and post.

How did you get your start in the film industry, and how long have you been in the entertainment industry?

In 2014, I decided to pursue a career in the arts and enrolled in the Digital Film & Video Production program at Miami International University of Art & Design. I graduated in 2017 with a portfolio of student films and spec commercials, including my award-winning thesis film Stillborn, and was honored with Best Portfolio and Best in Film.

In 2018, I was hired by CBS Television Stations as a cinematographer and editor, where I worked on over 100 television commercials. In 2020, I released my second short film, In the Dark, which went on to win over 35 festival awards. In 2023, I transitioned to freelance directing and VFX supervising, working with clients such as Red Bull, 1/ST Racing, Kennedy Space Center, NBCUniversal, and more. I’ve been working professionally in the entertainment industry for nearly a decade.

What led you to choose this career path? What makes your story unique?

Growing up, I was always a world-builder—whether through drawing, daydreaming, or imagining characters and stories in my head. After high school, my interests naturally drifted toward the arts, and I gravitated to filmmaking because I loved how cinema combines all artforms into one unified experience.

What makes my story unique is that I came into directing through a hybrid path—first as a cinematographer and editor at CBS, then gradually evolving into a director and VFX supervisor. I didn’t follow the traditional AD ladder or set life. I developed my voice by making things—writing, shooting, editing, designing visuals, and iterating until what I saw in my head matched what was on screen. That blend of craft, design, and intuitive storytelling is what sets me apart.

What was the first film that you directed?

The first film that I directed was a short called The Book during my first year at film school. I pitched the idea of a boy discovering a mysterious book in his basement and, after reading a Latin inscription, being attacked by a supernatural creature. It shocked my professor, earned me a perfect score, and solidified filmmaking as my path.

How many short films have you made so far?

I’ve directed six short films: four in my first year at film school, my thesis film Stillborn, and my most recent short In the Dark.

What genres do you specialize in?

I specialize in a blend of sci-fi, fantasy, and horror—usually with surreal or supernatural elements. My work often includes creature effects, CG characters, visual effects, and stylized environments. I gravitate toward transformation stories set in heightened or mythic realities.

What is your creative process for filmmaking?

My process is intuitive in concept, and highly structured in execution. It usually starts with a single compelling visual—something imaginative, emotionally visceral, or otherworldly—and I build the world around it.

Once I have the core idea, I write the script, create shot lists, and storyboard the film while mentally shaping the tone, characters, and narrative. I tend to visualize everything before filming—so by the time we’re on set, I’m orchestrating the execution of a fully locked vision.

From production onward, it’s all about alignment. I work closely with my producers to manage logistics, and I stay hands-on throughout the post to ensure the final film matches that original impulse. My goal is always to bring the exact vision in my head to the screen, so audiences can fully experience the world that I imagined.

What are some of the most memorable moments on set?

The most memorable moments always happen when the impossible becomes real—like seeing In the Dark’s Drakor or Fireball’s Angel Demon walk onto set in full prosthetics. Or walking through the custom-built sets for Stillborn, which felt like stepping into one of my daydreams.

Another highlight is the performance process—watching characters come alive under lighting and direction. Tristan Hall shifting from innocent Marcus to demonically possessed Jack, or Reif Howey and Ezra Lerario facing off against Drakor. My cast and crew always give it everything, and there’s a shared energy on set that we’re making something truly special.

Tell us about your company, DuskHouse. When and how did you start DuskHouse, and what does the studio specialize in?

I established DuskHouse in 2018, originally to produce and distribute Stillborn and later In the Dark. Since then, it’s become the creative hub for my passion projects, including self-produced works like the Fireball Whisky spec, Voodoo Decks launch promo for Low Tide Thread Co., and Symphony Hau’s “Birthday Cake” music video.

DuskHouse specializes in high-concept, genre-driven storytelling—projects that blend cinematic worldbuilding with visual effects, stylized design, and original IP. We’re currently working on a new spec featuring CG environments, creature simulations, and live-action greenscreen performances composited into a virtual world.

Apart from filmmaking, you are an accomplished commercial director, winning four Telly Awards and two Oniros Film Awards. How does directing commercials differ from directing films?

To me, they’re not that different. The commercials that I direct go through the same process as my films—just condensed to a 30-second format. The pipeline moves faster, and there’s more collaboration with agencies and clients, but the storytelling, design, and filmmaking are just as intentional.

Where they diverge is in scope, depth, and objective. Commercials are about aligning a story to the product and helping audiences emotionally connect to it. Films are about aligning story to theme and making that theme resonate through characters. But whether I’m selling a product or building an original world, my approach to visual language, story design, and execution is always the same.

Do you have any role models that have guided your journey?

Definitely. Directors like Zack Snyder, Guillermo del Toro, Peter Jackson, and James Cameron were major influences for me early on. Each one combines strong worldbuilding with visual storytelling and emotional mythmaking. I used to watch their behind-the-scenes content and director interviews religiously—learning as much from their process as from their films.

What words of advice do you have for people with similar aspirations?

Don’t wait for permission. You’ll only get hired to direct once you prove you can direct. So use whatever you have—money, favors, friends—to make work that shows your vision. Those short films and spec commercials are your portfolio.

Also, love the craft and protect your passion. This is a long game. It might take years of creating before people notice. That’s okay. Keep learning, keep making, and don’t chase trends. The thing that sets you apart isn’t how well you imitate—it’s how clearly you express what only you can create.

Any other endeavors or upcoming projects that we should currently be on the lookout for from you?

I’m currently working on a new spec project that should release later this year. It features fully CG environments, creature simulations, and greenscreen live-action performance—serving as both a proof of execution and a stepping stone toward the narrative projects that I have in development.

Where can we follow you on social media?

You can follow me on Instagram @michaelleonfilms and @duskhouse. My work is also showcased on my websites michaelleonfilms.com and duskhouse.com.

Before you go, let’s ask you a few off-topic questions:

What is your favorite movie?

My favorite movie is Watchmen (2009).

What is your go-to comfort food?

Definitely sushi.

If you weren’t a filmmaker, what would you be doing?

Growing up, I wanted to be a professional skateboarder.

Thank you for the great interview; wish you much continued success!