The fact is, the more of the business interest you control, the more creative control you retain. Period. Full stop.— Emily Best
If you don’t already know Emily Best, I have good news for you. Not only is she my guest for the latest episode of Coffee with Creatives, she’s also probably out there, right now, traveling the country and engaging with creatives in-person and online and via her company Seed&Spark.
It’s what she does. As we discuss on the show, Emily is out there working to help create a new creative middle class. She and her colleagues at Seed&Spark have a mission and plenty of ideas, and they’re eager to talk with and help you.
These are only a few of the reasons why I place Emily among the most inspiring and respectable people I know. She’s a force. It was a delight sitting down to talk with her for an hour about the practical realities of crafting authentic art — and how to keep crafting it — in today’s ever-changing socio-economic environment.
Topics covered in our talk include:
How a college paper on a body modification web site, years spent running restaurants, and more years spent observing c-level executives do their thing — combined to form the foundation of what would become Seed&Spark
The challenges of achieving a return on investment (ROI) in today’s film environment, and how they can be overcome in service of a sustainable creative career
The fallacies inherent to waiting to be picked
How audiences really get built (digging into Louis CK as an example to duplicate)
Separating the definition of a fulfilled creative life from dreams of fame and fortune
Sitting down with yourself and/or your collaborators to honestly answer the question of what you really want
How new technologies can enable storytellers to root out and combat systemic inequalities
The dangers of being too precious about your work (process can be product)
I also asked Emily to name one thing that any creative could do in an hour to advance their career. She gave an excellent answer. If you enjoy our talk, please share it on Twitter (I am @MichaelDiBiasio and Emily is @EmilyBest) or on Facebook.
As reminders, you can also subscribe to Coffee with Creativeson iTunes and support the podcast on Patreon.
For artists, the process of finding work space can be frustrating and inefficient. Meanwhile, venues have limited resources to spend finding new renters. Earned revenue is critical for creative venues yet many rental spaces are tragically underutilized. Through the SpaceFinder program, Fractured Atlas is increasing visibility of rental options, helping artists find the space they need, and helping venues promote and rent their spaces.
When I meet people in the city, especially when they’re doing something kind like meeting me to talk, I like to try to find a place or a space that’s easily accessible to them and either halfway between where we’re both going afterwards or at least fairly close. This time around, I was in a bit of a rush to find a spot, and didn’t know of too many spaces, off-hand, that would be quiet enough to record a podcast. The Space Finder allowed me to find something, quickly. It’s a great resource and I appreciate that it exists.
Filmmakers, actors, performers should check it out.
A Different Kind of Meditation: An Analysis of Word of Mouth (WOM) Marketing
Anyone interested in authentically building an audience, and then smartly and honestly growing that audience, would do well to read it. Murphy specializes in Software as a Service (SaaS) but rightly points out that his observations apply universally to most companies.
I’d take that further, and hitch it up to the “Filmmaker as Entrepreneur” argument, to include anyone whose work would and does benefit from WOM.
The biggest take-away, in my opinion — WOM starts with a great product. From there, it’s about talking to your audience, and asking them what they like and want. It’s about participating in a relationship — not simply selling.
I shared the post with Seed and Spark’s #FilmCurious crew, and people seemed to agree with me that all this is relevant to what we do. For me, that seems to prove Murphy’s point.
Speaking of the #FilmCurious…
This conversation couldn’t have been more appropriate for me. First, contributing towards a new and more equitable business model for indie film is my greatest obsession after contributing towards a greater dialogue about empathy and equality (through storytelling). In addition to that, after bringing The Videoblogs to Big Vision Empty Wallet’s (BVEW) 2015 Distribution Lab — I and the #VideoblogsFilm team are now working hard to iterate our business plan, finish the film, and get it out into the world.
Chat guests Jon Reiss and Adam Leipzig were very helpful, and gave a lot of great advice during the chat. As usual, the #FilmCurious crew also brought their own juice to the discussion. I brought fruit punch. It may have been spiked.
Good read. Get on it.
And have a good week.
Like my style? Subscribe to my list for advanced/exclusive (and free) access to new (creative) content produced by yours truly. I send one email per month.
You guys really enjoy competition. I guess that can be healthy. Sometimes? 🙂
Seriously, thanks for making our Hometown Battle contest (Cranston Rules!) such a success.Over the past few days, we’ve eclipsed 40% funded for The Videoblogs. But we have just a little over a week left to meet our goal.
Today, we have another friendly competition for you.
I apologize in advance, because today is probably going to get out of control. Everyone remember this is all for a good cause 🙂
Today is The Battle for Artistic Supremacy
Actors vs. Writers vs. Filmmakers vs. Comedians
Now. I know what you’re thinking. How does it help to ask a bunch of equally “financially challenged” professionals to contribute?
Valid point. But I have counterpoints…
Outside of friends and family (but often included in that group as well) no group is as supportive of the arts, percentage-wise, than other artists. This is not a knock on non-artists by a stretch. I think it’s just a little easier for artists to understand just how hard creative pursuits can be. Which is fine. We’re all in it because we want to be.
This campaign isn’t just about the 20K we need to shoot the film
It’s about an idea. One we share with Seed and Spark, which is why we’re working with Emily Best and company rather than another platform.
This is about community.It’s about banding together en masse. I don’t expect any fellow artists to able to contribute more than $20 today.
But that amount was carefully selected. So was the $10 and $5 incentive level.
Today, we’d love to bring in 50 contributions between $5 and $25. More would be great, of course 🙂
What we really want people to do here (a lot of people) is take a leap of faith and buy a copy of the movie before it’s made. We’ve tried as much as possible to make that an easy decision for you. And, again, I promise we’ll deliver a great film to you.
Rebecca and I together probably know hundreds of Actors, Writers, Filmmakers and Comedians. Between the rest of our team, I’m sure we know hundreds more.
It’s beyond moving when we get large donations like the one we got this morning that put us over 40% funded (with a little over a week to go). But, last night, we also got one for $5 that moved me in equal measure
Because that person did what they could AND for that I get to send her my book. Which I love to do. A piece of my soul went into that little book. I don’t know how or why it happened but it did. And the feedback I’ve gotten from those who have read it has been heartening.
So, yes, today is a friendly competition. I will be representing The Writers. We’ll probably win. But that’s not what this is about 🙂
This is about making a statement that small movies (and other projects) about difficult issues — have a right to exist.
If even half of the hundreds of fellow artists who read this today pick up a copy of that book and then share this post — that will push the needle on our campaign forward significantly.
The same rules apply as the last competition. Every dollar counts towards the total. The losers have to admit defeat, and declare the supremacy of the winner, in a video.
Welcome to the Inaugural Guest Post on mdibiasio.com. I’ve got a busy couple of years coming up (mischief is in the making) but I want to keep up a dialogue in between potentially more sporadic posts from me — so you may see some more entries from guests as the year continues. I’m especially busy for the next month (planning of the making of the mischief), but will still chime in now and then and I’ll probably do what I’m doing now and introduce and comment briefly on guest material.
Now, some info on our guest writer, Liam Billingham.
Recent posts about navigating life as an artist and indie filmmaker have been popular here, so when I noticed the below-mentioned conversation on Facebook — and read and enjoyed and agreed with many of the points made — I reached out to Liam to share his findings and his thoughts.
I first met Liam during a Seed&Spark Twitter chat, which, incidentally, you should check out if you’re a filmmaker and if this sort of material is of particular interest to you. Seed&Spark has been bringing great energy to the discussion and growth of a rising movement towards empowered, sustainable and self-directed indie filmmaking, offering support that ranges from crowd-building to funding to distribution, and their momentum and influence seems to really be growing. I’ve enjoyed becoming a part of their #FilmCurious community (the hashtag used during chats). Anyway, Liam is an indie writer/director living in Brooklyn, who recently finished a short film and is developing his first feature. Since I’m in the same position, more or less, we realized we had a lot in common and have become friends.
All of the below came out of an informal poll Liam took on Facebook, asking for some added insight from other seasoned artists in regards to providing advice to college seniors in the arts who will be graduating this year. I agree with all of what came up in the conversation, and believe many of the observations and advice shared by Liam’s friends can be of value to emerging and established artists as well as those who are nominally in more of a beginner’s position.
I’ll leave it to Liam to contextualize his specific findings. The reasons why I asked him if he wouldn’t mind sharing them, for the benefit of all, should become readily apparent as he works through each.
In spots, I’ve made some personal notes, which appear in italics and are tagged in the front with my name. All remaining text is from Liam unless otherwise indicated by him.
Just before Christmas, my former undergraduate theatre professor at the University of New Hampshire asked me to Skype in to a class of graduating seniors and talk about my experience as an artist since graduating. Specifically, the topic was ‘What Next?,’ and dealt with looking at the journeys alumni took that led to where they are right now.
The morning of the talk, I decided it was best to poll a group of friends and fellow artists who had been making art since we graduated. I didn’t want to restrict the poll to UNH alumni. I wanted to cast as wide a net as possible. I didn’t want to just ask theatre people only, either, since I don’t really work much in theatre anymore. For these reasons, I turned to all my Facebook friends in asking for advice for seniors.
The post got a lot of traction, and we got about 40 comments, most of which were incredibly useful. Reviewing what was sent in, a few key ideas popped up that I thought I’d share:
The More You Know…
From Stage Manager Natalie Lynch: “Do as much as you can and learn as many skills as you can. The more you know the more areas you can work. And you never know what may be asked of you…”
From UNH Student Engagement and Young Alumni Programs Director Megan Hales: “…ask as many questions and talk to as many people as possible. Sometimes you don’t know what you don’t know and the only way to make progress is by talking to people!”
The More People You Meet…
When I was at UNH, I had an intellectually challenging professor named David Kaye, who turned me on to Anne Bogart and the SITI Company. I read Anne’s book and applied to train with them. At their month-long training program in Saratoga, I met Jean Ann Douglass, whom, years later, introduced me to Nicholas Nelson and Jared Mezzocchi. Nick has been a constant collaborator, and Jared introduced me to Ben Jaeger-Thomas, who has been a client and collaborator for the past few years. Both Jean Ann and Ben comment below on how to make it as an artist. They’re lifers, fully committed to making art a part of their lives.
The more people you meet, the more you learn, the more experiences you have, the more these wonderful people will feed you. (MICHAEL: And you, them. In my experience, after I have summoned up the courage to “butt in” on someone, particularly online (though I do it in person as well) and open up to how I’m feeling about whatever they said or did (in a positive and/or constructive way) and then offered help — down the line, they’ve offered to help me too. A simple and obvious lesson but one that can be easy to forget). You’ll also meet assholes. You need to meet those people too, so you know you don’t want to be around them. (MICHAEL: This is a very good point. There are unfortunately a lot of negative people, in every industry. Negative artists can be particularly damaging to your progress and momentum. I should know. I used to struggle against one who used to live in my head, and still does — behind a series of locked doors).
From actor Jesse Presler: “…foster artistic relationships outside of your comfort zone. It can be an artistic hindrance to only spend time with people who speak the same artistic language in which one is indoctrinated. It can be a hindrance to personal growth to only spend time with and hide among one’s recently-graduated friends. College comrades are very important, of course, but part of being an artist is growth — growth which is and should be uncomfortable, painful at times even.”
So, find your people.
Carve Out A Life Course
From Seven Stages Shakespeare Company Artistic Director Dan Beaulieu: “Go out and see as much as possible. Now that classes are over, take 15 hours a week and carve out your own “life course”. Shows, concerts, movies, art exhibits, artisan craft fairs, anything creative. And read! And read. And read.” (MICHAEL: This is fantastic advice, that I whole-heartedly agree with. To me, it speaks to the importance of immersion. Personally, I long struggled with a tendency to explain away reasons why I don’t have the time (or, worse, don’t need to take the time) to do my due diligence as an artist and do as Dan says and “go out and see” stuff. A few additional added points: 1) Don’t wait for perfect circumstances when choosing what to do or not do, just be open and experiment and allow yourself to be led from there; 2) Be wary of the line between immersion and avoidance; 3) Apart from reading, mix in a healthy dose of private creative consumption. There’s even a difference between seeing a movie or a play with friends, and experiencing it privately and then talking — and doing the same thing but having another hour or more to process before the conversation.)
From Artist/Fractured Atlas Insurance genius Jean Ann Douglass : “Also, don’t kid yourself that you’ll be able to make rent off your art. There are lots of ways to make money, and they all have trade-offs. Irregular paychecks may be more stressful than the confines of working 9 to 5. Or vice versa.”
And, again from Jean Ann: “Don’t burn yourself out before you’re 30 years old. Taking care of yourself as a whole person is the most important thing you can do.”
From Voice over Artist/Actor Ben Jaeger-Thomas: “Really think about what it is realistically that you want to do in the arts. Being famous isn’t specific enough. Are you going to be okay
being on tour six months out of the year, every year, to piece together a living? You aren’t 20 forever.” (MICHAEL: Another good point. I’ve been trying hard lately to not only focus more on “the work,” but on how my work fits into reality. Accepting reality and adapting to it can be so much better for us as artists than we may think when we are following fear-laden trains of thought that tell us conditions need to be perfect).
From artist/musician/graphic designer/filmmaker Ken Nash: “If it doesn’t scare the hell out of you, it’s probably not worth doing. Set a goal each year to do one thing you’re completely terrified about doing.” (MICHAEL: He’s right. I would add that, invariably, what scares us the most can often produce our best work, if not directly — in some way or form at least).
Don’t be a dick
From filmmaker Chris Ungco: “People will respond better to good ideas from people who seem like good people. You get more, and you live better by not being a dick. Good luck.” (MICHAEL: This can be a hard piece of advice to adhere to, as time goes on and the (understandable) propensity for bitterness grows. Adhere to it anyway. Toxic people invariably release their poison to disastrous effect, even if they succeed in a short term way. Further, while we of course always want every single project to be the best it can be, acting monstrously towards collaborators (or worse, to or in front of potential audience members) endangers or destroys future prospects. Finally, in my opinion, no piece of art is worth the cost of dehumanization — in terms of what damage you could do to yourself or others. “Don’t be a dick” could also be translated to “be human”.)
So what did we learn?
Being an artist takes time, and it shouldn’t ruin your life. Have a life.
Constantly go out and meet new people, learn new things, and find a new niche.
Treat people right. Seriously, don’t be a dick.
I think the most important lesson is to really evaluate where you are right now. If it isn’t where you want to be, don’t beat yourself up. Make changes, slowly but surely. Once you’ve started making those changes, you’re doing it right. Being an artist isn’t a race. It’s a long, slow walk forward.
Liam Bilingham is a filmmaker and media educator in Brooklyn, NY. He’s currently developing his first feature film and working on several short-term projects. He’s just starting up his own blog, ‘Somewhat Suspect’, on his website, liambillingham.com.
Enjoy this post? Please Subscribe to my list. I send one email per month that highlights popular content on this site and provides updates on my film work and other projects. I also give presents to my list, in the form of advanced/private access to new content.