For more than a decade, Angie Gaffney has been one of Chicago’s most influential creative producers and community builders. From her early work at The Onion and Onion Labs to producing award-winning independent films, she’s helped shape both the city’s commercial and narrative landscape.
Oh, but we’ve just scraped the surface. Gaffney led Stage 18 at Cinespace during its formative years, became a respected advocate for industry standards and artist development through the Independent Film Alliance Chicago (IFA), and co-founded 521 Films. Her film projects have premiered at major festivals, her mentorship has supported emerging filmmakers, and her behind-the-scenes work has strengthened Chicago’s production infrastructure.
Now, Gaffney is stepping into a major new role as Executive Producer at Forge Virtual Studios, a 30,000-square-foot virtual production facility in Hanover Park that’s positioned at the forefront of cutting-edge technology and new creative workflows.
This is an exciting professional moment, and a personal milestone as well. Gaffney, who is married and has a young son, is expecting her second child. She enters this next chapter balancing leadership, creativity, and family life with the same intentionality that has defined her career.
Reel Chicago spoke with Angie Gaffney about her move to Forge, her body of work, and how she navigates the evolving intersection of career, community, and parenthood.
You’ve worked across branded content, narrative features, and episodic projects. What drew you to Forge Virtual Studios, and how does this new role allow you to bring all those worlds together while stepping into immersive media?
I’m working with Charter & Co, as well as Forge Virtual Studios. They are sister companies, run largely by the same team, but serving very different roles in the regional media landscape. Charter & Co focuses on delivering high-quality films and media to commercial and corporate clients, while Forge Virtual Studios serves a variety of clients at its 30,000 sq. ft. facility in Hanover Park. Forge is scheduled to open in Q1 of next year, with Charter & Co launching a new brand and updated portfolio soon after. It’s an exciting time for us.
I love building teams and structures that facilitate the storytelling process. It’s partly why feature films have always interested (and challenged) me – you’re rebuilding that structure in a unique way for each project. With Charter and Forge, I’m honored to be a part of building the companies’ next phase of growth alongside some really wonderful people. In terms of immersive media, I believe that the future of creating any piece of content is in being able to effectively use new technologies, while simultaneously maintaining human artistry and craft. I am excited by the challenge: I’m looking forward to blending the hands-on, intimate nature of independent film with the latest tech to see what stories we can tell.
Forge is at the forefront of virtual production in the Midwest. As Executive Producer, what are your immediate priorities, and how do you see this technology shaping the next wave of storytellers in Chicago?
It’s already shaping the next wave – we have a handful of great virtual production studios and companies in the Chicago area that are utilized on a constant basis, and universities are starting to provide in-depth, formal education in the virtual space.
‘Forefront’ is a big word, and one we will always strive to live up to. Of course, it means always being on the growing edge of the rapidly changing technology, and ensuring we remain technically up-to-date. For us, it also means being on the growing edge of customer service, education, and community impact.
Co-Founders Drew English and Connor Rowan have done a really excellent job infusing both Charter & Co and Forge Virtual Studios with a strong sense of professionalism, hospitality, ingenuity, and team-oriented culture. I’ve worked with a lot of entrepreneurs, and the two of them are a bright light of possibility in what is often a challenging industry.
My immediate priorities are to honor and expand on the culture that they’ve already created – while simultaneously serving as a bridge between communities: bringing accessibility and excellence under one roof.
Speaking personally, I’m working on expanding my technical knowledge around Virtual Production so I can meet that same standard of excellence when interfacing with our clients. Coming from a decade-plus in indie film, there is a learning curve for me: I admit that I’ve gone full nerdy-college-student-studying-for-exams and have multiple textbooks, highlighters, and sticky notes in a variety of colors.
Chicago’s creative community knows you as a deeply collaborative force. How do you see that community-building spirit translating into your work at Forge?
Oh, I have ideas. Community is such a critical core value for me; I’m really energized by the idea of creating entry-points for multiple constituents of all different backgrounds. Just because we’re at the forefront of virtual production, with expensive tech, doesn’t mean it needs to be inaccessible to folks who can’t afford it or don’t yet have the knowledge to use it.
I think that often happens with technological advancements in our industry: initially, they seem out-of-reach for most creatives. The democratization of that technology and knowledge is what will ultimately create community. I believe we can do this AND deliver excellent services to large budget clients and studio productions. I don’t yet know what the method will look like – whether it’s workforce development programs, networking events, or something else entirely. We’ll be sure to let everyone know as we roll out these initiatives.
Looking back at your leadership at Stage 18, IFA, and your work with 521 Films, what experiences or lessons continue to shape your approach today?
Where to start. I’ve had the privilege of learning and failing and succeeding in various professional settings – and I take all of those lessons with me. Specifically, I would say that I am eternally grateful to the mentors and collaborators who advised, challenged, and supported me along the way. None of the organizations you mentioned would exist without my colleagues at each: Betsy Steinberg, Rosie Burke, Alex Pissios, Brittani Ward, and others.
Independent film and community work takes a village, and you have to be willing to fail often (and sometimes publicly), in order to succeed; I’ve made a lot of mistakes. I have a high level of independence and risk tolerance and, while that is necessary in any entrepreneurial endeavor, I’ve had to learn how to reign it in so that my teams can succeed alongside me and not feel isolated in the process. I’m not always perfect at that balance; surrounding myself with people who are smarter than me in different ways and can provide clear feedback is really important.
You’ve earned a reputation as a mentor for emerging filmmakers. How do you balance supporting new voices while pushing forward your own creative slate?
When I transitioned out of IFA, I closed a chapter on nearly a decade of community-building work in the non-profit space. While I loved the work, I spent a lot of mental energy helping others facilitate their goals and build their careers – and it was time for me to do the same for myself.
Since then, I’ve been fiercely protective of my time and have enjoyed being able to be more intentional about where and when I give creative energy. Brittani Ward and I have had a great few years at 521 Films – releasing 3 features and 2 shorts since we launched in 2023, including two Sundance premieres and multiple awards. It has felt really good to be able to pursue that fully.
I’m at a place now where balance, inspiration, ambition, and stability has to co-exist. “Stability” and “independent film” are, unfortunately, often mutually exclusive. I will continue to make independent films as I am inspired to do so, while also pursuing excellence and innovation in storytelling with Forge Virtual Studios and Charter & Co.
It is my goal in this new role to continue to support emerging filmmakers and new voices, while ensuring the structure and professional development is there for them to take what they’ve learned and apply it to their own projects for years to come. Balance will be critical here: both for myself and for the folks we’re supporting – we can’t make a difference if we ourselves are drained or short on resources.
On a personal level, you’re welcoming your second child while taking on this significant new role. How are you navigating work–life balance during such a dynamic moment for both your family and your career?
Being a mother has truly been one of the greatest gifts. When I gave birth to my son in 2022, there was suddenly something in my world that mattered more to me than my career. It was a huge identity shift for me: it’s been both wildly challenging and immensely gratifying.
Many of my colleagues at Charter & Co and Forge have young children, and we all have similar values and aspirations around how we spend our time. It was one of the reasons I was so attracted to this position in the first place: the internal company culture is a rare one that allows for ambition, quality, and balance to co-exist. They hired me when I was very pregnant, and still insisted I prioritize a maternity leave that worked on my timeline – that’s a really beautiful gesture that isn’t often extended to pregnant people with such grace and accommodation.
Has becoming a parent influenced the way you think about your creative choices, or the kinds of projects you want to build?
Absolutely. It’s certainly forced me to become incredibly intentional about how I spend my time, and forced me to take a look at what stories are mine to tell. When I make a feature film, I’m committing a minimum of four years of my life to shepherding the project – it’s a huge decision. Many of the projects I’ve made over the past few years began well before I became a mom. Now, those films are winding down and new ones are beginning: in some ways, I feel like I’m just starting to be able to choose stories and projects through the lens of motherhood.
Regardless, my children won’t be able to see most of my films until they’re much older, so I’m determined to have fun and make cool sh*t in the meantime.
Chicago’s film ecosystem is evolving quickly. What do you hope the next decade brings for our industry here?
I was thrilled to see that the new expanded tax credit legislation passed – big shout out to Christine Dudley, the entire board of the IPA, and many others for their tireless work on it. It should have a positive impact on attracting work to the state and providing more jobs for Illinois-based filmworkers.
It’s been a rough couple of years in the industry as the studio-television-production-juggernaut has decreased in scope: so many people I know are out of work and having to re-invent themselves on the professional level. Chicagoans are resilient – I hope that the expanded tax credit will allow for folks to do what they love on a more consistent basis and find some stability.
For the next decade, I hope to see more mid-budget features ($6mm+) film in Chicago, along with a continuous flow of television and commercial work. Allowing our filmworkers to have options for how they make their living across the commercial, film, and television space is critical for a healthy ecosystem: solely relying on huge-budget studio productions and micro-budget features is not going to create the diversity or sustainability we are all looking for. I also would love to see more independent films developed and financed locally, alongside an increase in professionalism and business-savvy practices. There’s a “hobby culture” that is often associated with Midwest-based indies that I do not think is beneficial for our industry’s development. I hope more filmmakers will take it upon themselves to better understand the business, treat investment dollars like the privilege they are, and work to build a sustainable career that’s not based solely in passionate or ego-driven one-offs.
Finally, what’s next on your creative horizon? Are there personal projects or collaborations you’re excited to pursue alongside your work at Forge?
I have two features in active development that I’m excited about filming soon (hopefully!), and am circling a few other scripts for consideration down the line. Most immediately, I am thrilled to pour my energy into the launch of Forge Virtual Studios, and the re-launch of Charter & Co. I can’t wait to introduce my community to these companies and see what magic we can make together.
Angie’s approach has never wavered, lead with integrity, create space for others, and keep building. It’s what makes her such a trusted part of Chicago’s film community, and why her next chapter feels a lot like a natural extension of the journey she’s been on for years.
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