Mentorless: Story Fabricator Nathalie Sejean

nathalie-sejean-photo-by-gizem-evcinWell, kids, for anyone who missed the news — this is the last episode of Coffee With Creatives. At least, it’s the last one for now. I have decided, after much deliberation, to put the show on indefinite hiatus.

But I couldn’t have asked for a more perfect guest to bring to you for this occasion.

Nathalie Sejean is a champion of creative entrepreneurialism. She provides indispensable service to creatives, via her newsletter (Sunday Interestingness) and site (Mentorless.com), and is currently in development on her first feature film (In Five Years).

Check out our talk to hear Nathalie testify to the power of:

  • Turning to books at an early age (and, later, to bookselling) to jumpstart her interest in learning and storytelling
  • The advantages of building a skill set, while avoiding perfectionism, by moving from experiment to experiment
  • Leveraging daily creative challenges to source and iterate ideas over time
  • Showing your work, and why this is a crucial action
  • Keeping yourself accountable and taking continuous action — while staying humble
  • Fostering virtual communities
  • Transforming virtual relationships into real life meetings
  • Repetition, and how it serves not only output but quality and growth
  • An effectively employed and genuinely considered newsletter

I’m glad to be ending this endeavor on a high note by sharing this episode with you. Definitely follow Nathalie on Twitter, and sign up for her email list. You won’t be disappointed.

As for me, I am going quiet for a while. But you’ll hear from me soon. It will be a growl from a mountain.

Thank you for your listenership and readership. If you want to stay in touch, reach out anytime. Or sign up for my email list. I’ll likely keep active there, for now.

You can also listen to Coffee with Creatives on iTunes.


profpic_squareMy name is Michael. I am a Writer and Filmmaker 
of hopeful stories for complex people. My first film, The Videoblogs, about mental health in the age of tech, is available on iTunes. I’m currently working on my next film and also a novel. Once per month or so, I send a special note to those on my email list. They get exclusive and advanced (sometimes free) access to my work. You can join this special group here. Thanks for reading.

The Arc of 2016: Fight Smart and Do Less, Better

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I knew Donald Trump was going to win.

At least, a part of me knew it. A part I didn’t want to hear. I suspect there are more than a few of us out there, who knew and yet couldn’t — desperately didn’t want to — believe it.

There’s a friend of mine, out there right now, who might still have a voicemail from me, that I left a few days before the election. I remember knowing what was going to happen, even then, as I clung to the belief that it couldn’t possibly happen, and did my part to avoid the result.

But it did happen. It has happened, hasn’t it — despite any recurring, sudden seizures of bewilderment. (Today, I heard someone say the word “trumpet”, and winced.)

We all know this, by now, that Donald Trump will soon be our President.

Some of us have even begun to accept the fact, as reality, if not on any further basis of principle (more on this later). Others haven’t yet accepted it, may not ever. And I suppose that is their right.

For myself, I was quick to accept the results of the election. They make, in retrospect, a perverse “sense”, at least to anyone who has been paying attention to the mood of the country and the world for the past decade.

This is not to suggest either that I am happy with what has happened (I’m not, if that hasn’t already been made clear) or that I am currently without hope for the future.

But it is a complicated, difficult time for sourcing out hope.

I can remember the day I left that voicemail more vividly now, as well as the scattering of others, occurring more recently, wherein I was similarly seized by anxiety, anger and sadness — when confronted with that sense of knowing what was about to happen, what has happened.

I can remember them more vividly because now I’m looking at those moments for what they were, as opposed to fighting against the knowledge that this is reality, as were the factors which led to (and now sustain) this unfortunate reality (for now).

Most of all, I remember the inner conflict. The sense of sinking dread.

This can be avoided. This can’t be avoided.

I refused to believe it. Still, sometimes, I can’t believe it. Perhaps that’s my sin, shared with countless others on both sides of the political spectrum. Certainly it is the sin of our media, which did not see this coming and, in fact, most likely contributed to this mess in a major way, by validating the theatrics of a bully via their mere “serious” attention.

Make no mistake, a time of reckoning has arrived in America.

People are going to suffer. The arguing will continue. The fear will continue.

Justice, fairness, equality — all supposed bedrocks of our democracy — will continue to absorb blow after blow. And we very well may wonder, soon, finally, if any of these crucial aspects of this contemporary brand of civilization can survive.

But they will survive, ultimately. We will.

I believe that. I can see and feel this belief clearly. The shock of Donald Trump’s Presidency has, at the very least, thrown our failings as a country into sharp relief against the task of safely securing a future — for all our citizens — about which can (eventually) be proud.

My acceptance does not make the pain or the sadness at our plight any lighter to carry, but it does imbue the carrying with a much-needed charge of hope.

So, what does this all have to do with my annual recap, as an artist, as I deliver it here once again? (That is, incidentally, nominally, the reason for this post.)

 

This site, the central hub for my work as an artist and activist, is now four years old.

When I started it, I was still struggling with anger, resentment and fury — against the injustices of the day. I was ready to talk about the issues, but not yet strong enough to truly engage them — or myself.

The year after that saw progress. I re-discovered a consistent creative voice, and I got to work. Along the way, I found myself heartened by the number and quality of like-minded people also working to make this country a better, more accepting, more equitable place.

Then, last year, I found peace. I began to feel capable of showing patience, of practicing faith. I’m still working on this, every day.

And, now, here is a great test. And a pressing question — how to conduct myself as an artist and a citizen during the presidency of Donald Trump?

It is a question, and a crucial one, whether its reality shocks me or not.

I have been turning this question over, regularly — but in a non-obsessive way — in the many days since I shared my initial thoughts on this deeply disappointing turn of history.

As I mentioned in that post, unfortunately, this sort of reaction comes more easily to me by nature of my demographic reality.

As a straight white male, the likeliest form of suffering in store for me has to do with my economic class — the same one I am in now, that I was born into over thirty years ago — even if I am sure to suffer by proxy as I watch friends and loved ones shake with anger and fear, and legitimately suffer, over the next four years.

And yet it is in this fact, in my similarity to Trump, that I find a point of access for the decision and announcement I am about to deliver.

 

The reason I knew this was going to happen is because it was inevitable.

I don’t mean that in a fatalistic way. I’m not being cynical or conveniently revisionist. This was inevitable because of how straight white people like me are handling the type and rate of change currently sweeping through the world — in a word, poorly.

But that is not to say that this is entirely their fault.

If there’s any justice left in the world, Donald Trump will in later years prove to be nothing more (or less) than the last gasp of a fading American power structure owned and engineered disproportionately by straight white males.

He is the face of our enemy, of our collective oppressor, not due explicitly to his whiteness or his straightness of even his maleness, but, rather, based on how he conducts and employs the power and privilege that come part and parcel with these things.

Once a bit of a misogynist, a bit of a racist and a homophobe, but always a skeptic of bureaucratic power — I now state plainly that I pride my contemporary self on being the polar opposite of someone like Donald Trump, despite our shared demographics of gender, race and sexuality.

Personally, at the very least, no matter what I do from here, I can move forward knowing that I struggled through change, learned and trusted in the goodness of people who looked and acted differently than me, and acted out of decency and courage rather than fear and hate.

It is no secret to regular readers, to anyone who saw The Videoblogs, or listeners to the podcast, that I have now absorbed goals of fairness, representation, and economic equality into my mission as an artist and a human being. However, I believe this all bears repeating for one very important reason.

 

While Donald Trump has provided a face to our enemy, he alone is not our enemy.

It is what he represents, and how he came to power, that we must understand and combat.

Politically, the answers might seem clear. And, in fact, they are.

Truth itself is under attack. It has been for a long time. I think the main reason I knew this was going to happen (despite my disbelief) is that I had already been fighting against men like Donald Trump for most of my life. Many of us have been.

Except, oftentimes through no fault of our own, we’ve been distracted from this truth, and this fight. By the machinations of the powerful, we have been bent, manipulated, and pushed away from Truth.

Our lives are not our own, in many respects. We are controlled by a power elite that, despite certain vestiges or illusions of democracy, care very little about the average American.

These people mostly only discriminate in regards to race and creed, insofar as it benefits them financially and politically to do so. They have very little actual faith in anything, apart from money and power, which are themselves faithless things.

These sad, desperate people know all this, and it destroys them inside — but they know no other way to behave, in the face of their own fears. And so they continue to hold fast to that fear, thereby, by virtue of the reality of our contemporary crony-capitalist economics, squeezing us.

And while they squeeze us and misdirect us and distract us, even to the point of their own continued and dangerous disillusionment, we turn against and fight one another, despite the overwhelming commonality of our fears and concerns as citizens. In this way, democracy (rule by the people) remains perpetually arrested, and plutocracy (rule by a wealthy elite) continues to maintain its grip on the throats of the everyday citizen.

Donald Trump may be the face of our enemy, but we must be very careful in the next several years of civil combat not to focus the majority our energy squarely on him and his administration. True deliverance from this plight requires us to go deeper, and fight longer.

This is what I have come to understand in these past few weeks.

My own distractedness, my own fear and faithlessness, have been my failure. I don’t say this to diminish the gains I and we have made over the last several years. I only mean to point out that there’s much work left to be done.

 

Trump is the symptom, not the disease.

The disease is the faithlessness, the dejection, the weariness, of contemporary America — and much of the world. We (the people) are angry, we are depressed, we find ourselves fundamentally exhausted and estranged from true hope. We have been beaten down and driven insane by the elite, confused and harried by the speed of innovation, and neither the tyranny of the elite, nor the advance of machine-dependency into our lives — show any signs of letting up.

There is no other way to explain how someone like Donald Trump can win office by claiming to represent the will of the people, while lying through his teeth about his intention to fight against the very elite that he wholly (and vulgarly) represents.

All that our cowardly, selfish, greedy President-elect intends to do for the next four years is consolidate money and power among his elite.  That much was clear all along, and has been proven by his cabinet appointments. When he’s done he’ll abandon the destruction and foot us with the bill and — barring a miracle — carry on with his greed and destruction until the moment of his lonely death.

To be clear — to repeat — in actual reality, there is no one less-representative of the average American than Donald Trump.

That millions of people either do not understand this, or refuse to believe it, that our political and economic system all but excludes the possibility of an actual champion of the people successfully reaching office (or at least one empowered by a consensus of reasonable political allies on all sides of the political spectrum) — this is the sickness from which we desperately need to recover.

 

For this reason, for myself, I find that this year has brought with it a lesson in focus.

I cannot afford, or tolerate, anything less than fully-committed, principled conduct and expression from myself. I need to fight smart and I need to move quickly. The only way to do this effectively is to put out work of real depth, that is of a larger scope, and work smartly and strategically to get the work out to as many people as possible.

To be clearer, I intend, beginning in 2017, to do less — better.

This site will remain online indefinitely. But this is likely the last blog post for a while, although I might chime in on occasion and will continue to run my email list. Beginning next month, Coffee with Creatives is going on hiatus, indefinitely. My presence here will be sporadic, as compared to previous years.

I have big things to do, in regards to the main areas of battle central to this essay. I intend to go at these things, full tilt. I’m ready to — truly, passionatelly — fight.

Are you? Because we’ll need you.

 


profpic_squareMy name is Michael. I am a Writer and Filmmaker 
of hopeful stories for complex people. My first film, The Videoblogs, about mental health in the age of tech, is available on iTunes. I’m currently working on my next film and also a novel. Once per month or so, I send a special note to those on my email list. They get exclusive and advanced (sometimes free) access to my work. You can join this special group here. Thanks for reading.

 

No Excuses: Filmmaker Tom DeNucci

image7I’ve known Tom DeNucci for a long time. It was great to finally get him on Coffee with Creatives, and he does not disappoint in this latest episode of the podcast.

If I took one thing away from our talk, it’s…the power of action. No matter what you’re trying to do as a creative, if you keep moving forward, with a parallel focus on learning through experience (and from mistakes) — you’ll grow. And results will come.

Other topics that come up in my talk with Tom include:

  • His involvement (and appearance) in the Martin Scorcese produced film Bleed for This
  • Starting as a background actor, and watching everything everyone does on set
  • The crucial importance of attention to detail
  • Digging in as a regional filmmaker, in spite of stereotypes and challenges
  • Getting your movies (or creations) seen
  • The benefits of keeping up a rotation of projects and goals.

You can find Tom on Twitter. Bleed for This is currently in theaters.

As reminders, you can also subscribe to Coffee with Creatives on iTunes and/or support the podcast on Patreon.

We’re All Growing: Producer Alex Cirillo

image1As one half of Big Vision Empty Wallet and Big Vision Creative, Alex Cirillo has worked on numerous projects in film and TV. Along the way, she’s gained a ton of useful knowledge that’s sure to be of interest to the budding, stuck or striving creative.

In this latest episode of Coffee with Creatives, I sat down with Alex and discussed:

  • Getting a head start in film by studying it in high school, and how the early support of a teacher helped Alex realize she might be on the right path
  • Building a network by working different gigs and internships
  • The importance of relationships to growth and success
  • The benefits of being a small team, and reasons for intentionally staying that way
  • Finding a way to make things work
  • Approaching film and TV as a media for both social change and vagina jokes
  • The most common mistake filmmakers make in pitching their projects

Stick around to the end to hear Alex’s one piece of advice for how to leap forward in your project or career. It’s simple, actionable and effective. Enjoy.

You can find Alex on Twitter, and learn more about Big Vision here.

As reminders, you can also subscribe to Coffee with Creatives on iTunes and/or support the podcast on Patreon.

How to Move Your Career or Project Forward Right Now

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Greetings, Fellow Creatives! Today’s episode of the podcast is a bit of a clip show, but I think it will be very useful to longtime listeners as well as anyone new to Coffee with Creatives.

As many of you may know, I try to make a point of asking guests on Coffee with Creatives for actionable advice for anyone who is just starting out, or perhaps feeling stuck with any one project or in the career, or who is just generally on the look out for practices and tactics that might help them create and keep on creating.

That’s the goal of the show at large, and in this episode you’ll hear from some of my more popular guests in terms of:

  • One piece of advice they would offer to help you generate and realize your vision,
  • Getting your work made and/or seen,
  • Moving through fear,
  • The benefits of mindfulness,
  • And other important methods that go hand-in-hand with creating professionally.

If you enjoy this episode, here’s the full list — in order — of guests whose longer interviews are excerpted. I’ll be back in a few weeks with a new full-length interview.

Please consider sharing this episode on Twitter or Facebook if you get something out of it.

As reminders, you can also subscribe to Coffee with Creatives on iTunes and/or support the podcast on Patreon.

It’s Absurd That We Die: Filmmaker Josh Seftel

joshua-seftel-and-john-cusack

 

Josh Seftel applied for a grant to make a film about toxic mold. He got the grant and made the film. After it developed a bit of a cult following, he started getting calls from Hollywood. Eventually, he would go on to work with talent like Ben Kingsley, Marisa Tomei and John Cusack.

On a separate day, he ran into an old friend on the street. Three years later, the film that resulted from that chance meeting would grace the front page of The New York Times web site.

Josh and I talk about all this and more on the latest episode of Coffee with Creatives. Head on over to iTunes to hear about:

  • Why Josh skipped on medical school to make films and produce stories, eventually leading him to work with such outlets as HBO, PBS and This American Life
  • The importance of gaining and nurturing a network across disciplines — and how that helped land his short documentary, The Many Sad Fates of Mr. Toledano, on the home page of The New York Times
  • How and why Morgan Spurlock got involved with The Many Sad Fates of Mr. Toledano
  • Working in a morgue during college, and his longtime affinity for dark things
  • The benefits of getting up early
  • The importance of finding a mentor, and the one crucial thing you you should do in parallel while working for or with that mentor

Great talk. Hope you enjoy it as much as I did. You can find Josh on Twitter. His site can be found here. To watch The Many Sad Fates of Mr. Toledano, catch it on Vimeo.

As reminders, you can also subscribe to Coffee with Creatives on iTunes and/or support the podcast on Patreon.

Daily Progress vs. The Perfection Method

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The sun’s rising. I’m drinking my tea. There’s a blanket over my legs and the dog is curled up beside me. For now, it’s quiet.

I was wondering what I would write about today, but that seems as good a start as any. I’m content.

Another week down. More words written, both here and in my new screenplay. Yesterday remained an up-and-down day for me. My brain was in a mood. That’s okay. I got through it. I took care of myself as best I could.

I talked to some friends, and to my wife. I asked for help. I asked for help — and my penis is still attached this morning, for anyone wondering.

As I suspect it might go for many, I have a tendency to collapse into the weekend. I think the main reason I found myself battling yesterday — was because I was tired. So I rested.

And I’m keeping a closer eye on the pattern. It’s no good to burn out early. I’m worried about that result, for myself. It’s happened before. I want better, now.

There are two main characteristics to being an independent artist. The first, obviously, is the independence.

Many of us gravitate towards unbeaten paths because we’re simply drawn there, must make our own trail, for any of a number of reasons. It’s important that we do this, for others as well as ourselves. I believe that.

But then there is also the complicated part of it. The necessity towards a sometimes unsparing utilitarianism, and towards sacrifice. Lacking context or proof of our reasons for going another way — we similarly lack the resources to give any one project as good as a go as we must, without trading in on our own body and spirit.

This breaks us down, I think, slowly, over time. It’s how many artists get swallowed up, become embittered. An embittered artist is perhaps as capable of committing as much damage, in their despair, as those that their work has or would have targeted in the past. Perhaps more.

One of the friends I spoke with last night brought up the idea of sustainability, a topic I’ve discussed here and on the podcast before.

The question we pondered was whether it was better to create a little bit, each day, refining and growing naturally over time — or to work exceedingly hard to perfect one big thing, perhaps over the same amount of time but in a way wherein we might be left understandably exhausted at the end.

Having tried on both methods, now, I tend to agree with my friend — that the first might be a better fit at present. There’s a great danger, when following the perfection method, to rationalize. It’s almost necessary.

I’m doing all this work to make this perfect, but once it’s perfect, then everything will fall into place.

Except that’s not a hard and fast rule. Further, we don’t get to decide what’s perfect.

That sunrise? This cup of tea. My dog and the chill quiet morning? Maybe that’s perfect.

If I were to make a little film for you, highlighting this same combination? Sure, perhaps it would come out “nice” — but it would might never capture the feeling I got, and perhaps was conjured in you, when we started off here.

Now, that’s a convenient example. My morning ritual isn’t inherently cinematic. But anything can be cinematic, with the right amount of work, the right talent applied. I could take up the challenge and direct and shoot and edit a short film about Morning Tea. 

But the amount of work it would take to do this flawlessly? The curse of filmmaking. Which by its nature depends very heavily on The Perfection Method.

I’m not setting up any grand revelation, to be clear. I don’t plan on quitting the game. I am exhausted by the game, though. I do have to admit that I find it much more soothing to make daily progress as a writer.

And yet, the highest spikes of traffic to this site (my hub as an artist) over the past three years, have been the releases of Multiverse, The Confession, and The Videoblogs. On its own, the separate site for The Videoblogs drew twice as many visitors in a few months than this site does in an average year.

So, maybe it’s about balance. And patience. Two characteristics that are quite new to my vocabulary. For most of my life, until now, I think I’ve confused perpetual frenzy with escape velocity. I felt that if I just worked a little harder, I’d be free and on my way.

But maybe it’s not a question of escape — of leaving the planet. Maybe it’s a long slow journey, to be savored even as certain legs take us up and along arduous peaks, and down into cold, rocky valleys.

It would make sense, this more earthbound analogy. It would explain the purer accessibility of the sun and the tea and the dog in the morning. It would place The Perfection Method into some approachable, quantifiable context. Such hard journeys aren’t usually taken alone — at least not by sane people — or in quick succession.

These two main characteristics of the independent artist — the freedom to work in new ways and towards new results, and the necessity of approaching this task with what’s available — they’re obviously closely related. But perhaps one can’t be leveraged in support of the other.

More likely, they’re two legs of a stool, with patience and balance making up the remaining two legs. Removing any one leg to buttress another won’t work. It will just throw off the effectiveness of the whole thing.

More to ponder.


profpic_squareMy name is Michael. I am a Writer and Filmmaker 
of hopeful stories for complex people. Lately, I have been sharing some reflections and stories every morning. Once per month, I send a special note to those on my email list. They get exclusive stories and advanced (sometimes free) access to my work. You can join this exclusive group here. Thanks for reading.

 

The Power of Habit

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I don’t know that I have much to say, yet, today. Today might be one of those days where the real value lies in showing up.

I’ve now posted here for 41 straight days. Not bad.

This streak is a testament to the power of habit, or a habit smartly chosen. I love to write. I love sharing what I’ve written (most of the time). It’s still hard to get out of bed early, most days, but it’s not hard to prioritize a sit-down for some writing and reflection.

I think that’s the trick of it.

First, we choose a habit we want to build, out of sincere desire. Then we set a goal that not only depends on daily commitment, but is at once manageable (technically I could write and publish a single word, and keep the streak alive) and aspirant (my original goal of thirty straight days took some extra work to hit).

Then it becomes about execution. Sitting down and doing it. If it helps, I’ve been laying down, with a blanket over me and dog and cat interns. I’m cozy.

So much daily stress has been muted by this exercise, as well. No matter what happens today — unless it’s something truly awful — I can at least say that I have written and have been read. Sometimes, you sweet gentle creatures even comment on what I’ve said on a given day.

It can be this simple. It feels important, here and now, to be reminded of that.


profpic_squareMy name is Michael. I am a Writer and Filmmaker 
of hopeful stories for complex people. Lately, I have been sharing some reflections and stories every morning. Once per month, I send a special note to those on my email list. They get exclusive stories and advanced (sometimes free) access to my work. You can join this exclusive group here. Thanks for reading.

 

5 First Steps To Take Before Making Your Film

Here I am, eleven years ago, with no idea what I have gotten myself into.
Here I am, eleven years ago, with no idea what I have gotten myself into.

A question came up during yesterday’s (wonderful) Live Chat for The Videoblogs, that I thought I would re-address in a bit more detail here.

The gist of it — how to get started making your first film?

There are plenty of good ways to answer this question. There are many great resources out there outlining the basics of any one facet of this noble, unwieldy endeavor.

Knowing this, and also knowing that it matters more to me to tell a good story than craft a perfect picture, I focused my answer on an attempt to pre-hack the biggest challenges that are likely to come up in pursuing the coveted first film.

As such, my recommendations tend towards sustainability and focus, rather than process or technique.

Process and technique can be filled in beforehand with research and experimentation. Or you’ll learn by failing and re-starting at certain points in your journey.

But these are the top five pieces of advice I might have, at present, for anyone starting their first film today.

1. Understand the situation you’re getting yourself into

PA Puppy can't get a Grip.
PA Puppy can’t get a Grip.

The planning and execution of a film is a very large undertaking. Even if you’re starting small — issues or challenges or requirements are going to come up that you never expected. You will be tested.

I don’t think that filmmaking is for everyone. There are a lot of people out there working to write and/or direct their own films…who don’t seem happy. There could be several reasons for this, but chief among them could be that the idea of filmmaking is a lot more glamorous that its reality.

I’ll have more to say about this in a moment, but the reason I bring this fact up first is because I really do think that the best way to handle the difficulties of the task is to first acknowledge and accept that it’s going to be difficult. If we’re fighting ourselves at the same time that we’re fighting to get the film made…both self and film will suffer.

There are other ways to engage your sadistic side than deciding to commit years of your life to the foolish endeavor of bottling and reshaping a slice of space-time using magical machines.

If you still can’t help yourself…

2. Have a system of self-care in place

Once or twice a year, I go to the woods.
Once or twice a year, I go to the woods and find a big stick.

I have written much about this already. I will keep writing about it. Again — making a film is very hard work. Often, when we’re starting, we’re working within constraints of time, money and all the rest that comes with the responsibility of everyday living.

I’m still working on this part.

The fact is, you could sacrifice everything for your film and emerge very pleased with the end product.

Doing this, however, might leave you at the same time irrevocably embittered by the process you just went through — or dealing with an poisonous buildup of entitlement.

Because you poured it all into the work and then had nothing left to sustain your actual life, your relationships, your next project.

It’s the live to work or work to live dilemma.

Because it’s so beautiful and fulfilling, art-making can muddy up our perspective of the pursuit — but the fact remains that making a film or writing a book or whatever…it’s still work.

We’re not built to labor around the clock. Inevitably, when we try, breakdowns commence.

It will be hard.

Those who find their way towards filmmaking tend to overwhelmingly be high-functioning perfectionists, often with reserves of (not unhelpful) arrogance to call upon for that extra juice (“I can bottle space-time!”).

But knowing or learning or carefully exploring our limits, with an eye on longterm personal and career health, will make the journey and the film that much better for you and everyone else involved.

3. Have a reason

For The Videoblogs, our reason was getting out and talking about mental health in America.
For The Videoblogs, our reason was getting out and talking about mental health in America.

This piece of advice is only third because I’m supposing that most people reading this, and/or taking my words seriously, already have a compelling reason for pursuing filmmaking (or any one film).

But, if you don’t, think long and hard about whether you can find a reason, or whether the one you think you have is strong enough to sustain you when chaos or despair descends on your production and your life, despite all of the warnings and precautions outlined above and below.

In my experience, you need this reason. On some days, it will prove the only thing capable of keeping you going when you want to quit. Why this film, and now?

4. Have a plan

I held at least six separate positions during production of The Videoblogs. Why? Because it had to be done to keep things moving.
There’s a reason this image serves at the backdrop for the Coffee with Creatives logo.

Hang with me here, for a second.

Obviously, if you’re intending to make a film — you’ll need a plan. There’s no way it comes off without one. Even if your plan is to keep things loose, there’s a lot of preparation that you need to do to allow that possibility on set.

Still, I’m not really talking about the how. That’s all up to you. It’s just hard work.

What’s just as important, however, is that you have a plan for: 1) Fitting the giant disruption that is the making of a film into your daily life, and 2) Ensuring that the giant disruption leads to worthy results.

To address the first, I’d recommend doing some serious, honest work to prioritize what needs prioritization, with an eye on what’s realistic. Assume everything will take twice as long, and be twice as difficult, than you might expect.

Ensuring worthy results, to be clearer, means having a distribution plan. Ideally, a few of them.

At minimum, know how to get the film to your core audience, no matter how small or local. These are your first champions.

You will need them. Respect this relationship enough to put the work into it. Think about how your film can serve your core audience, and how to make it convenient for them to participate in its distribution when the time comes to push your project out into the world.

5. Be willing to be patient

It will take years -- but the hard work and the waiting are usually worth it.
It will take years — but the hard work and the waiting are usually worth it.

This last suggestion is as much for me as anyone else. The reality of filmmaking is that it takes an enormous amount of time. If we do our job well, this enormity ends up hidden to general audiences.

The way most people experience entertainment is to consume it, quickly and ruthlessly.

Behind all that quickness and ruthlessness, on the side of the consumption of content, there’s slowness and a methodical attention to detail that is required on the part of the content creator.

If and when we cheat, to get things done faster or to “just get them done”, we endanger the sanctity of this relationship between creator and audience, as manifested by the creation.

If we are lazy at any point, or give in to bitterness or despair and shortchange any one part of the completion of a film, we risk dooming the entire endeavor.

On the flip side, we can obsess too much, and risk burning out in the vocation, or on any one project. It’s a delicate balance, that really only begins to make sense over time.

Conclusion

Filmmaking is a beautiful, noble, privileged pursuit. It’s brought great purpose, joy, and meaning to my life. Pain and disappointment have also entered the equation at points.

If and when we can find a real reason to move forward truthfully with a project, and so proceed with it while taking care of ourselves and respecting our audience — then we can enjoy and thrive under the vocation.

Best of luck to anyone mad enough to give it a try.


profpic_squareMy name is Michael. I am a Writer and Filmmaker
of hopeful stories for complex people. Lately, I have been sharing some reflections and stories every morning. Once per month, I send a special note to those on my email list. They get exclusive stories and advanced (sometimes free) access to my work. You can join this exclusive group here. Thanks for reading.

TOMORROW (10/9): Watch The Videoblogs for FREE! Then, Let’s Chat

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Happy Saturday, Monsters and Sprites! I don’t know why ya’ll are mythical, today.

Actually, I do know why.

I have great faith in you. I believe in you. You are magical beings that sustain me over the internet, and in real life. There’s no rule that says magic can’t exist, and pass back and forth between people — even in a world where seemingly everything has become a statistic.

The magic persists.

On that note, I want to make sure anyone who is a general fan or tolerator of my work knows about tomorrow. What’s tomorrow?

Tomorrow brings a Live Group Watch and Commentary Event to you, over the interwebs. We’re set to watch The Videoblogs with a group around the country (maybe the world!), in partnership with Nick Savides at the nsavides podcast, Producer Jenna Edwards (April Showers), Writer/Producer David Paterson (The Great Gilly Hopkins) and more cool people. The event begins at 230PM EST.

The event is free, we’ll be releasing The Videoblogs for free for the day, AND there are over $500 worth of prizes for participating. One of the prizes comes from me. I will read the script of one lucky victim — I mean, winner — and follow that up with a consultation.

Other prizes include a 30 min interview with Nick on his podcast, and a consultation package from Jenna, who seems like a pretty badass producer.

The reason I bring this up in the context of magic is because…well, this is what The Videoblogs is about. Strangers connecting online in the pursuit of something better.

Does that mean that I think watching The Videoblogs will make you better? Maybe!

I wouldn’t have made the film if I didn’t think there was a chance. But, to reiterate, it’s not really about that. It’s about a few sturdy handfuls of us (or more!) getting together, taking a real look at some real issues, and bonding over a mutual desire for greater hope.

I’d love to see you there. If you haven’t yet watched The Videoblogs, and want to participate, it might be most helpful to do that today, if you can. As always, you can rent the film on iTunes.

You can also watch it here, for free. To be honest, it’s a lot more helpful to us when you rent (or buy!) the film. But if you can’t do that right now, or want to sample it first, or live outside the US — go for it.

Have a great weekend, my mythical friends. Trailer!


profpic_squareMy name is Michael. I am a Writer and Filmmaker
of hopeful stories for complex people. Lately, I have been sharing some reflections and stories every morning. Once per month, I send a special note to those on my email list. They get exclusive stories and advanced (sometimes free) access to my work. You can join this exclusive group here. Thanks for reading.