In honor of the 50th anniversary of the Stonewall Uprising, LGBTQ+ activists, artists, and everyday heroes across generations came together through Airbnb to have a candid conversation about what Pride means to them. WNW Member Ivan Cash, recently named to AdWeek’s Creative 100 list, directed the short film, which explores the possibilities when you take the time to connect with a stranger and recognize a shared mission.
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The Multihyphenate Amber Schaefer Talks Lessons from Comedy & the Need for Funnier Work with Dirtbag Women
Amber Schaefer was otherized at a young age, which provided her with the perspective to recognize the comedic potential in “normal” things. Her time doing sketch comedy then gave her the vocabulary to discuss what makes something funny with future creative collaborators. Amber discusses how the combination of both serves her well in her roles as director, actor, writer, and comedy person and also offers lessons from the comedy world that would serve the creative industry and the one thing she wants to see more of in 2019.
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IWD2019: Naomi Grant. “Don’t Think You Have to Shrink Yourself for Others to Be Comfortable.”
Naomi Grant shares how she found validation in her faith while finding her footing as a director and offers advice to fellow creative women. “You deserve to fill the space you are in right now, and don't think you have to shrink yourself for others to be comfortable.”
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Photo by Jerm Cohen
Meet Atlas Acopian, Winner of the First Ever GIPHY Film Fest
We’re excited to introduce you to WNW Member Atlas Acopian, who did us proud and won the Grand Prize at the GIPHY Film Fest for his microfilm “Washed Up.”
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Iconoclast, Filmmaker, & Entrepreneur Ondi Timoner’s Live Talk Show Is Turning #MeToo Into #WeDo
Ondi Timoner discusses why WeTalk is coming at a cultural crossroads, how her past experiences prepared her to make WeTalk both a sustainable and expanding series, and what creatives and companies can do to join the conversation.
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How Google Creative Lab Primed Aneesh Chaganty For His Feature Film Debut
Filmmaker Aneesh Chaganty discusses the specific ways in which Google Creative Lab prepared him for making the new hi-tech thriller Searching, and why being a first-time filmmaker actually helped in tackling the film’s unique approach. Aneesh also shares advice for fellow advertisers looking to make the jump into filmmaking, and why it's the casting that he's ultimately proudest of.
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Director Jessica Sanders Journeys into the World of VFX in Her Latest Film
Jessica Sander's latest film certainly has its otherworldly quirks, but make no mistake: Jessica is still documenting themes of power, inhumanity, and abuse at a time more prevalent than ever. Presented by Refinery29 and TNT as part of the Shatterbox Anthology, End of the Line was an official selection at 2018's Sundance Festival. It stars Simon Helberg and Brett Gelman.
Read MoreWomen In Film: Cocktails + Conversation
We're bringing Working Not Working's creative community together for cocktails and a conversation to support female filmmakers. Moderated by filmmaker Ondi Timoner, who has the rare distinction of winning Sundance's Grand Jury Prize twice, we'll discuss the future of women in film with a panel of Erika Olde, CEO of Black Bicycle Entertainment, Montea Robinson, Managing Director of Ghetto Film School, and Oscar-nominated director Jessica Sanders.
Read MoreJosh Cohen's Design Chops Inform His Unique Exploration Into Video
One of the coolest parts of WNW Member Josh Cohen's portfolio is on display in the project credits. The man is wearing a lot of hats. Director, writer, editor, designer, art director, producer. "It’s a special feeling and privilege, being able to have a vision, and have the end product be just that or something really close to it."
Read MoreThese Presidential GIFs Offer Actually Funny Alternative Facts
The All of Presidents is a 45-day GIF marathon that offers some 100% factual information about all the guys that have held the position throughout history.
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ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER
ARTIST NICOLO BIANCHINO PAYS HOMAGE TO GIORGIO MORODER
WNW Member Nicolo Bianchino clearly has excellent taste in music. His latest project "Giorgio" is an ode to Italian singer, songwriter, and producer Giorgio Moroder. Nicolo's animations compliment voice-over musings by the man himself, as he discusses the discovery of his now infamous synthesizer sound. The featured music is "Giorgio by Moroder," a track by Daft Punk, who are just one of the many famous acts that Moroder has influenced.
Here's Free Range's personal favorite Giorgio Moroder song, from his soundtrack to the late-night 80s thriller Cat People:
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY TOKYO TRIP
ANIMATOR JAMES CURRAN KEEPS DAILY GIF DIARY ON 30-DAY
TOKYO TRIP
WNW Member James Curran is spending the month of April in Tokyo. And what better way for him to share his experiences than by employing his creative chops with an animated diary. He's documenting his daily whimsy and wonderment in the form of a Tokyo Gifathon, and animated James Curran looks like he's having the time of his life. Taking in so much of what Tokyo has to offer within the first 3 weeks, from arcades to the Bonsai Museum to Yoyogi Rockabillies to cat cafés, we can only imagine what activities Curran has planned for the home stretch.
This isn't James's first foray into Gifathons. Here are his recaps of his time in Los Angeles and his time in New York.
Day 2 - Eating flying sushi.
Day 3 - Street fighting in arcades forever.
Day 4 - Crossing Shibuya Crossing.
Day 5 - Running through cherry blossoms.
Day 6 - Ramen noodle refills.
Day 7 - Always losing to claw machines.
Day 12 - My first Tokyo earthquake.
Day 13 - Bonsai museum.
Day 14 - Cat café.
Day 15 - Sake tasting.
Day 16 - Yoyogi Rockabillies.
Day 21 - Origami.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Hi Stranger, This Short Will Leave You Creeped Out Yet Comforted
"Hi Stranger. It's been awhile..." And just like that, we're finally reunited with a noseless, clothesless and waxy individual we never realized we were missing
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THIS LEXUS IS LIT AF. NO REALLY, IT'S COATED WITH 41,999 LEDS.
THIS LEXUS IS LIT AF. NO REALLY, IT'S COATED WITH 41,999 LEDS.
Lexus just showcased a new one-off car that makes a Lamborghini look understated. While it's essentially identical to the 2017 Lexus IS luxury sport sedan and drives just like one, this particular model happens to be covered in a nice, round 41,999 LED lights. [Insert New Year's resolution joke here.]
According to Lexus, "The custom car produces 175,000 lumens when fully illuminated, and the LED strips, if placed end-to-end, would stretch half a mile in length. Three distinct modes allow the LIT IS to interact with sounds and people in its vicinity. Attract mode features a loop of colorful graphics that highlight the strong lines of the IS and play into its bold styling. Music Viz mode is designed to respond to music, as the LEDs will create custom, responsive displays that perfectly sync to any song. Gesture mode allows the motion of the LED animations to be controlled by users’ hand movements with the help of a gaming console." Pretty impressive stuff, if not exactly street legal.
WNW Members Aramique Krauthamer, Jeff Crouse and Matt Felsen were all part of the creative team behind this flashy automobile whose coat of light becomes a diversely visual platform. Below, we catch up with Aramique, who oversaw the whole creative vision of the production from the installation itself to all the ensuing film and photography, to get a quick glimpse into the making of this car. Despite the understandable challenge of making 41,999 lights glitch-free, the process sounds like it was overall a pretty smooth ride, thanks to a strong team and a helpful and supportive agency like Team One.
Tell us a little bit about your creative background. Who is Aramique and how did he get here?
I'm a Director at Tool focused on interactive installations and immersive media currently working between the US and Europe. Worked for a few years as a creative director at Syrup and Obscura Digital in New York, and then decided about 5 years ago I didn't want any kind of real job anymore.
Here's our January 2015 Member Profile on Aramique.
What was your involvement in this Lexus LIT IS installation? How'd you get involved?
Team One had the idea to make a Lexus covered in LEDs and sent an RFP out to a few places including Tool where I'm represented. I submitted a treatment that they liked a lot and won the project to direct it. My role was to oversee the whole creative vision of the production from the installation to all film and photography.
What were some of the unexpected challenges or surprises in making the LIT IS a reality?
The first surprise was that the agency had good taste. That's rare in America. Usually I struggle with agencies asking for terrible changes that I disagree with, but in this case I liked all the feedback from Team One, and really enjoyed working with the creative director Alastair Green and art director Adam Bright. The two main challenges were mapping all the LEDs on the car and dealing with glitches caused by the sheer volume of LEDs.
Do you recognize a signature creative style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
I like doing things I've never done before so you won't see much repetition. I am my own worst critic so I always ask if I would enjoy it, if I would go check it out, if my friends would go. I try to create things that can live at music or art festivals instead of marketing so that's usually the barometer. Brands commission a lot of random work but I'm not interested in letting them waste their money and my time.
Anything else you'd like to add?
This project was all about the team, not me. (WNW Members) Jeff Crouse and Matt Felsen, as well as Mau Morgo, Gary Gunn, Lars Berg, and Jennifer Baker all made magic. We had a badass team and that's why it came together nicely. We also had a chance to bring in a super talented DP Joe Picard and photographer Sesse Lind so our documentation came together perfectly.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: SEPTEMBER 6TH
PROFILES OF THE WEEK:
SEPTEMBER 6TH
Al Mendili, Creative Technologist. Seattle.
Liz Kelley, Designer. Savannah.
Joshua Zucker-Pluda, Director. NYC & LA.
Danielle Ouellette, Art Director. Los Angeles.
Carlos Sanchez, Designer. Oakland.
Matthew Miller, Designer. San Francisco.
Alexander Shelley, Art Director. New York.
Ana Mouyis, Animator. Brooklyn.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET RAOUL PAULET: MORE DEFINED BUT NEVER CONFINED
MEET RAOUL PAULET: MORE DEFINED BUT NEVER CONFINED
It's common for creatives to cite an army of backgrounds, muses, and practices that shape their artistic methodology. But few offer a portfolio that so clearly exhibits every influence as WNW Member Raoul Paulet. His work reads like a kaleidoscopic dance, heavy on both risks and rewards. Below, Raoul recalls a creative background that traverses theater, cinematography, visual design, and digital animation, and examines how each field has shaped the fluidity of a few of his more recent projects. "This profound love and respect for the creative world, and the constant research I do every day in this wide field help me shape my evolving profile, getting day by day more defined but not confined." Through a passion for creative discovery, Raoul honors his inspirations without ever allowing them to paint him into a corner.
Tell us about your creative background. Who is Raoul and how did he get here?
Who is Raoul? Well, that’s a very good question!
Being a very curious and versatile creative, I hardly find a way to define myself. Even though you may see a “fil rouge” throughout my works, I almost always tend to revolutionize everything on every new project. That’s why I think the Industry sometimes struggles when it tries to put creatives into defined and somehow limited boxes. They usually say: “you’re this and you do that, or you’re that and you do this”, full stop. In my case, I’m this but also that and I could make that but I could also make this. My creative background goes from theatre to cinematography, passing from visual design and digital animation, plus I have a deep passion in any kind of art form.
This profound love and respect for the creative world, and the constant research I do every day in this wide field help me shape my evolving profile, getting day by day more defined but not confined.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
From my personal POV, I’d say it’s indescribable, because as you suggest I usually try to approach each project as its own entity, but at the same time people who look at my projects quite often find and recognize my touch, my personal signature style, so I guess my work can be visually recognized even though I do not do it consciously.
AINÉ + Sergio Cammariere - "Dopo La Pioggia" Music Video
What drew you to this subject?
I felt it was the right time to push the cinematic storytelling a bit further, and jump on more complex story structures, where multiple storylines cross each other simultaneously throughout the whole film. Although the video suggests a flow of events, I love the idea of putting a certain amount of ingredients on the table and then leave room for the audience to imagine their own narrative.
What inspirations helped inform this project?
The idea behind it is to investigate a storytelling and editing style that mimics, on one hand, the way we consume content in the digital age, and on the other hand how our minds silently deform and readapt stored memories while recalling them back. So through the sole use of GIFs (playback included), the video breaks down a love story into hundreds of memories run in a loop.
Hardest part?
Putting all those clip together and giving them the right space, timing and reason to exist. It was like working on multiple edits at the same time, all intersecting with each other. Quite a long and tricky process.
Telekom Television Campaign - DDB Slovenia
What drew you to this subject?
DDB Slovenia gave me a lot of creative space for this big national TV campaign for Telekom. The more I was proposing new stuff I wanted to shoot, the more they were excited about working together. This is how it all started.
What inspirations helped inform this project?
Because they wanted to create an inspirational and metaphorical piece around the brand, I had the chance to play with my cinematographic background, taking inspiration from some of the best storytellers ever such as Kubrick and Hitchcock. I like the idea of slightly elevating our reality to something magical. I wanted it to look like an open-eyes dream.
Hardest part?
Probably the big long-take sequence where we passed from a sunny NYC indoor location shot of a woman through a decomposing apartment in the middle of the woods to finally end up at night on a bridge on an obscure lake where a mysterious sand castle is placed.
In order to create the “in-camera” visual effects, we had to build one big set and use only one long Steadicam movement from point A to point B. Big preparation for it as you can imagine, big crew helping out, and a lot of takes in order to get the right “in-camera” visual effects I had in mind. But at the end and after a lot of hard work, everyone was quite excited with the result.
Hugo & The Prismatics - "Le Mystère" Music Video
What drew you to this subject?
I wanted to explore the Japanese Kuroko technique, by turning it into something more contemporary, with a strong link to design and animation.
What inspirations helped inform this project?
I took inspiration mainly from Surrealism and Deconstructionism, especially exploring their graphic elements. Using those examples, we (Terrible Twins and I) started to draw sketches of the main scene, the table and all the main shapes we used on the set. We played with perspectives, lines, and shapes. We chose flat colours and analogous tones, so that the viewer’s eyes could easily mix and blend things together into one strange 2D/3D world; real 3D objects painted to make them look flat and flat surfaces that looked like 3D objects.
Hardest part?
Definitely the creation of certain kind of practical effects. For example, the moment where the performer falls into a mirror that breaks up into multiple pieces all around her was one of the most challenging but rewarding parts of the production.
Imagine a mix of camera movements, plus a live performance mixed with perfectly timed choreography. Everything should work and happen exactly at the same time in order to create the right visual illusion. I really love that section of the video.
What moment or project in your career so far has made you the proudest?
Being nominated as one of the best new young directors at the YDA in Cannes has probably been one of the best moments in my career so far. But I’d say also directing my first big TVC with DDB for Telekom Slovenia has been quite a big step up.
Biggest career failure?
I’d probably say the tons of pitches that almost every month sadly don’t get approved.
What are you working on now?
At the moment I’m in pre-production on a new music video that should be shot around the beginning of September and also just finished writing an idea for a short film that I hope to get it produced very soon. Stay tuned!
How does London influence your work?
To be honest London doesn’t influence my work that much. I think in terms of creative inspiration we could point at other cities, but for sure this city helps you push your work further every day.
Almost everyone here is only interested in getting the “next thing” done and when it’s been done no one remembers it the day after, because they’re already projected to the “new” next thing. This can be quite frustrating of course but it’s also exciting because it makes you research and pose a lot of interesting questions without the risk of getting bored in the process. But I also think that if on one hand we’re all running towards the next thing without looking back, we should also be able to better appreciate what everyday amazing people and artists do-make-create; otherwise the risk is that we might lose a lot of very good stuff in the middle.
What cultural and creative venues do you frequent in London?
London offers such an amazing cultural programme, from music to art, from screenings to live shows that it’s difficult to pick a few places. Established and underground institutions continuously offer new exciting things. Almost every month I find out about new galleries, clubs, theatres or concert spaces, especially in East or South London. One place I love in particular is the Red Gallery in Shoreditch. It’s an underground and alternative cultural venue where you can find cool expositions and exciting gigs in the same place. It’s probably the only remaining creative space left in that, sadly to say, gentrified area.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
For sure I’m more in my element as a lone wolf, but it doesn’t mean I wouldn't love to feel part of a more “real” and proactive creative community.
Even though it seems we’re all connected to each other, I don’t feel this sense of “community” these days. I probably have an old-school vision of a creative community but honestly the fact is a lot of time is spent online looking at each other's work in a very voyeuristic approach rather than meeting up in person. It’s quite depressing, at least creatively speaking. Yes, it can be part of our everyday way of communicating with others but it can’t be seen as “the only way” possible now. So how can we invert this trend? I don’t know, but I’d be more than happy to be a part of a creative community revolution.
Who are some of your biggest creative idols and influences?
David Lynch, Stanley Kubrick, Martin Scorsese, Werner Herzog, Gaspar Noé, Christopher Nolan, Jonathan Glazer, Spike Jonze, Bill Viola. Just to name a few…
If you weren’t a Designer and Director, what do you think you’d be doing instead?
Perhaps a philosopher or a performing artist. ☺
What do you do when Not Working?
Trying to get the most out of my life spending time with my wife, friends and family. Sports if possible, or simply doing nothing all day.
What are some things you would tell your high school or early twenties self?
Don’t waste your time too much.
Any album, film, television or book recommendations for your fellow WNW members?
Of course! One per category not to be missed out: “Malibu” by Andreson Paak; “Pusher” (the whole trilogy) by Nicolas Winding Refn; “Peaky Blinders” by Steven Knight; “The Heart Is Deceitful Above All Things” by J.T. Leroy. A good mix of new and old stuff.
Who are some other WNW members whose work you admire, and why?
To be completely honest with you, this is quite a tricky question to answer. WNW has so many great artists in each field that it’s almost impossible to point to only a few of them. The overall level is really high and so each of them should be admired. Well done to all of you!
Anything else you’d like to add?
If you’re in London and would like get in touch, please do not hesitate to drop me a line. I’d love to meet new artists with which to collaborate, especially on creative (no budget!) personal projects. Let’s meet up. Let’s share creativity. Let’s make great things together.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS
A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS
The first spoken words of the newest short by WNW Member #9338 Leandro Santini & Anna Franzén describe Swing as a dance form that's "a bit like a drug." Kudos to the filmmakers, as the intoxicating movements, dreamy slow-motion and reflective voiceover almost immediately put you under Swing's spell. "You're constantly chasing this high, this amazing magical moment," the voice continues.
SWING is a lyrical documentary that portrays the harmonious relationship between two dance partners, and between them and the dance itself. Michaela and Rupert share how the dance form has changed their lives and brought out their real selves.
SWING's running time is just over 2 and a half minutes; that's how long it should take for you to wonder how you ended up dancing on your desk looking down at the chair you had just been sitting in.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JULY 5TH
PROFILES OF THE WEEK: JULY 5TH
Franziska Barczyk, Illustrator. New York.
Omar Acosta, Director. New York.
Soleil Ignacio, Illustrator. New York.
Tim Lampe, Designer. Atlanta.
Ellen Schofield, Illustrator. Minneapolis.
Phil Gable, Copywriter. New York.
Christine Taylor, Producer. Portland.
Joel Knoernschild, Director. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
HOW TO DIRECT A FILM ON A SMALL BUDGET
HOW TO DIRECT A FILM ON A SMALL BUDGET
Let's face it: directing a film looks really hard. WNW Member #7027 Mikél Leyva embarked on his first directing gig so we had a few questions for him. Like how he juggled his creative brain with solving logistical challenges, getting the crew to work as a team, and keeping his day job in advertising. Oh, and the pressure: "As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t."
What inspired you to direct Falling?
I’d been wanting to direct a film for a long time. Whenever I heard interviews with my favorite directors, I often felt that their way of deciphering life-stories was closest to the way that I related to life. But I’m aware that no one’s going to hire you to direct a film if you’ve never made one before. So in 2008 I decided to just go for it and direct my first one.
Where did the story come from?
I was living in LA working on a music project with a drummer friend of mine, while looking for a story for my film. And a close friend there was about to marry into quite a volatile relationship. Their tense wedding planning made me contemplate that need to secure an idea of love at all costs. I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it.
"I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it."
Where did you find the time while working on commercial projects?
It wasn't easy. I saved money for a few months to start with a small budget, and to take time to do pre-production. Then I set off to San Francisco to lead a large online project for Microsoft while preparing my film. I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings. I found it more natural to treat both projects pretty much the same, rather than to try to switch modes between personal and client projects. I must say that a huge number of people helped along the way, friends and many (then) strangers too.
"I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings."
Any advice you can share on learning to sit comfortably in the director's chair?
The phrasing of this question made me laugh – maybe Ridley Scott actually ’sits comfortably’ in the director’s chair, but I think the rest of us are on our feet orchestrating everything under pressure. But as for directing advice, I might just repeat what my good friend (and producer) David Levine said when he called me after reading the script for Falling. He said something like: “Mikel, no matter what happens, don’t compromise. Just don’t compromise." I’ve worked in every creative channel, and this advice has felt particularly meaningful in filmmaking. But it took me making a film to really understand the value of it. When making a creatively affected film, there were many more moments than usual in which you choose to either push on, or compromise.
"If you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed."
Another element I find important is motivation. I’d say that each of us sees the world in our own unique way, and our own way of living and understanding our experiences. And there’s already more half-hearted bad films out there than any of us will have time to take in. So if you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed. You will succeed in some ways and you will also make mistakes. But that’s okay, just learn from it all, and keep going.
What were some of the biggest challenges on set?
Film pre and post-production can have a project pace close to advertising, but directing on set is quite different. During filming, time is quite unforgiving, and you’re all working to create one big event, with parts that are being recorded at the same time, like an orchestra or scenes in a play. You prepare actors and crew for weeks to play scenes in meticulously transformed spaces that you only have for a certain amount of time, in which budget and the options for shots are directly linked. This event would be challenging to replicate.
And although you work with so many people, as the director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses, and having to re-shoot is not a viable option. In the end, you either made a good film, or you didn’t.
Compared to leading an ad agency project over a set of weeks (or more), one directs the course of a shoot by the second. And there’s a rhythm; it’s more similar to making music. Also, when under time pressure, people are hesitant to risk working in ways they haven’t worked before, which sounds understandable, but trying new things is often what you need them to do. And as a director you’re shaping the creative environment constantly and quickly. You define when and how it is collaborative, and when it’s time to keep moving, in a much faster pace.
I was operating in such a driven mode that when someone on the team wasn’t 100% on board, it was very noticeable to me. And so began this dynamic between my creative ambition, and my team’s skills and motivation, which I had to navigate constantly while making this film.
"As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t.
What differences did you notice in how you approached your work in advertising and this personal project?
Inspiration was gold. At a big ad agency you already have some of the best talent in their field and a team structure. But on a personal project there’s no accountable company structure or obligations. People don’t really ‘have to’ do what you ask, and your team could potentially walk away from your project at any time. So to make the best personal film possible with a rather small budget, and the majority of the team being junior volunteers, you have to find what will drive people to care as much as you do.
How did the process of Falling make you think of teamwork differently?
I'd like to think that I've always treated my teams with empathy. But directing volunteers while striving for professional quality means that I had to push a lot of people further than they expected to go. And I'm very grateful that this challenge made me consider what each person is getting out of working on the project, and out of working with me. In advertising, the client experience, the portfolio pice, and pay are often enough, but we don’t often think about what we have to give back to our teams. And I actually really enjoy nurturing talent. I’m the eldest of 3, maybe that’s got something to do with it.
In post-production, the dynamic changes again. And you may have a very clear idea of where you want something to go and feel compelled to micromanage. But if you do that you could block that person’s ability to make creative decisions, and you end up shooting yourself in the foot. So you need to read your effect on the team..
There are times when you just give a direction to aim for and that’s enough, but there’s often times when you need to support your team member enough to enable them to get on that journey with you.
Having directed a big project depending on a lot volunteers has been a gift in a way. You get more candid reactions from your team, and you learn to read people better. And without a budget, you really have to learn to inspire people to care for the work as much you do. Not only does this make you a better leader, it also reconnects all of you with the core reasons that drive the work you do.
"To make the best personal film possible with a rather small budget... you have to find what will drive people to care as much as you do."
What's next for you?
I’m currently most interested in how the emotive aspects of film/video can mix with the uniting power of digital media. I'm also looking into ways that I can contribute to projects that provide a social benefit - especially in the area of bridging perspectives. In terms of filmmaking, my next step is to continue developing my voice, and make more films. I want to find my ‘dream team’ of writers, producers, cinematographers, and crew to continually work with on many projects to come.
I’m currently editing Part 2 of Falling, and plan to finish it by Spring.