Alumni spotlight: Ruthie Jones
New York’s transit system is a lifeline for millions and is highly sought after by moviemakers who want their work to capture the city’s energy. Ruthie Jones ’96 helps balance both sets of interests.
Jones is senior manager of film and special events for MTA Construction and Development. She has been with the agency since 2004, and previously served as director of film and special events for MTA New York City Transit. Jones’ department reviews and executes requests for access to MTA properties.
“While the MTA welcomes filming and actively tries to help productions achieve their vision, its primary reason for existence is transportation,” Jones says. “When accommodating filming or special event requests, we’re always mindful of customers. Although you may see a crowded subway car on the big screen, we don’t allow filming on in-service trains. If a production requires a train, they’d have to rent one.”
The variety of project locations, the types of trains requested and the varying levels of difficulty in helping a director are just some of the reasons Jones loves her job. Her list of notable and challenging projects is lengthy — it includes Tom Ford’s Spring 2020 fashion show, which turned an abandoned subway platform into a runway for his upscale brand.
“Recently, we worked on a Spike Lee movie which allowed us to film in three out of the four subway boroughs,” she says. “[The 2009 movie] The Taking of Pelham 123 was a great experience because there were so many locations, and it involved the cooperation of a lot of different departments in NYC Transit.”
She adds that The Tonight Show Starring Jimmy Fallon’s pop-up busking performances were like having a mini-concert in the subway. Other projects required even more innovation.
“The Joker, In the Heights and The Marvelous Mrs. Maisel were challenging because we had to find period-appropriate locations and we used trains from the 1930s and 1960s stored at the New York Transit Museum,” Jones says. “We provided the directors with a station we’ve never used for filming, which came with a new set of challenges. Filming had to stop, and the movie train had to move to allow the refuse trains to enter so we can keep the system clean.”