In 2017, cinematographer Christina Alexandra Voros learned about an exciting new series—an epic drama centered around a ranching family filmed in Montana. Eager to be involved, she reached out to an old colleague to express her interest in joining the crew, even willing to accept a more junior role than her usual position as director of photography.

Initially, Voros was brought on as a “B camera operator.” Although thrilled, she faced challenges early on. “I spent the first two weeks worried about losing my job because I didn’t grasp the politics or the scale of such a big production,” she recalls. “I remember calling a mentor, crying, questioning if I had taken a step back. I felt disconnected from the show’s creative vision.”

This show turned out to be Yellowstone.

Growing Career with Ambitious Projects

Voros is grateful she persevered, as Yellowstone became a groundbreaking success. Her exceptional skills caught the attention of creator Taylor Sheridan, who consistently promoted her during the show’s five-season journey.

She eventually advanced to director of photography and director for Yellowstone and also lent her talents to four episodes of the prequel, 1883, which earned her an Emmy nomination for her cinematography.

For her latest venture, The Madison, featuring Michelle Pfeiffer and Kurt Russell, she serves as both executive producer and director for all six episodes in the first season. Voros describes the series, penned by Sheridan, as a “narrative about love, loss, and family, examining how tragedy reshapes us. It’s a profound exploration of the transformative power of land.”

Today, she plays a vital creative role, fulfilling her initial aspirations.

Support from Ava DuVernay

Her success story is remarkable, especially considering that Voros didn't initially plan a career in film. A theater enthusiast, she graduated from Harvard intending to act and was accepted into a theater graduate program. A friend recommended film school, leading her to apply to NYU Film School almost as a joke.

“Directing was never on my radar,” she noted, admitting she wasn’t “technically inclined.” At that time, she didn’t even know what a cinematographer did. After a shaky NYU interview, she was surprised to receive a scholarship offer. She deferred her theater studies for a year, attended NYU, and quickly fell in love with filmmaking.

Voros launched her early career in independent film, working on projects for James Franco and Tate Taylor. A key turning point arrived when Ava DuVernay invited her to direct an episode of Queen Sugar for the Oprah Network.

“She created an incubator specifically to empower women directors, providing opportunities that might not have existed otherwise,” Voros explained. “There was a misconception that you couldn't direct television without prior experience, and her aim was to dismantle that myth.”

Other talented female directors involved in Queen Sugar include Amanda Marsalis (The Pitt), Demane Davis (Brilliant Minds), and Kat Coiro (Matlock).

The Challenges of Directing

Voros fully embraces the demands of directing, recognizing its relentless pace. “You’re constantly making decisions,” she states. Her strategy for managing large-scale shoots, often featuring extensive crews, casts, animals, and sweeping Montana scenery, hinges on trust in her team.

“I think there are two types of people: those who surround themselves with smarter, more inspired individuals and those who prefer to shine themselves,” Voros says. “I aim to be the least prominent person in the room.”

Working within the Western genre has its unique logistical challenges. During her first episode of Yellowstone, the script required 200 horses and foals “cascading down a mountain.” When asked about storyboarding, she laughed, saying, “We’ll set up five cameras and let the horses run down the mountain. They won’t follow cues.”

Directing The Madison meant “four months of nonstop work. There’s hardly a moment to breathe.” The process was complicated by emotional scenes that transitioned from outdoor shoots in Montana to a soundstage in Texas two months later.

However, the fulfillment of realizing her vision throughout the first season was especially gratifying. “It feels like creating a six-hour film, telling a complete story. It’s a wonderful experience,” Voros expresses.

Future Projects: Expanding the Universe

Voros has already completed filming a second season of The Madison. Currently, she’s focused on the eagerly awaited Yellowstone sequel, The Dutton Ranch, starring Kelly Reilly and Cole Hauser, continuing the stories of Beth Dutton and Rip Wheeler.

She’s also gearing up for Frisco King, a spinoff of Tulsa King, featuring Samuel L. Jackson.

Despite her extensive experience in directing television, Voros remains appreciative of each opportunity. “Life is unpredictable, and you never know what’s coming next. I have very talented friends who haven’t worked in years due to industry changes,” she acknowledges. “I struggle to turn down work because I never take for granted that something new could be just around the corner. You really can’t predict it.”