Heather Wagner

Co-founder and DGA 1st AD at Cinapse @ Cinapse arrow icon

Heather Wagner Co-founder and DGA 1st AD at Cinapse

Heather Wagner serves as the Co-founder and DGA 1st Assistant Director at Cinapse. In her role, she has collaborated with various filmmakers to ensure streamlined scheduling and production processes. Her expertise in handling complex schedules has been recognized in multiple circles within the film and television industry, contributing to Cinapse’s reputation for excellence in production management.

Heather Wagner DGA Award Nomination

Heather Wagner received a nomination for the DGA Award for Outstanding Directorial Achievement in Theatrical Feature Film for her work on 'The Fabelmans'. This nomination underscores her significant contributions to the project's success, showcasing her ability to handle intricate scheduling and coordination, essential for the seamless execution of a large-scale production.

Heather Wagner in 'Switching to 2: The Art and Science of Film and TV Scheduling'

Heather Wagner has been featured in the interview series 'Switching to 2: The Art and Science of Film and TV Scheduling'. During these interviews, she delves into the complexities of film and TV scheduling, sharing insights from her experiences on projects such as 'The Fabelmans', 'Ahsoka', 'The Mandalorian', and 'Silicon Valley'. Her participation in this series highlights her expertise and thought leadership in the field of production scheduling.

Heather Wagner's Career and Mentorship

Heather Wagner began her career as an office Production Assistant on the first season of 'Glee'. Early in her career, she was mentored by First Assistant Director Danny Silverberg, who taught her the essential process of breaking down scripts. This foundational knowledge significantly contributed to her ability to handle complex scheduling challenges in later projects.

Heather Wagner's Approach to Scheduling

Heather Wagner is known for her unique approach to solving scheduling challenges, known as 'vision questing'. She emphasizes the importance of starting from a place that best serves the creative vision of a project. Additionally, she advocates for including producers and creatives in scheduling conversations to ensure that the schedule aligns with the artistic goals. Her work on the show 'Ahsoka', where she managed a massive 165-day, 1000-strip schedule, exemplifies her capability and innovative scheduling techniques.

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