Everyone dreams about it. The glitz, the glamour, the red carpet, the afterparties, but especially the accolades. The pinnacle of success for a filmmaker, right? And it's not just the mammoth paperweight, but it's the speech you give when receiving that shiny, televised award. Have you practiced it yet? In front of the mirror, you say? Oh, dear. Then you may want to sit for this next bit.

Comfortable? Good, good. "I'd like to thank…" whoa, hold that thought. Allow me to rip this particular band-aid off for the sake of strengthening your skin: the only people who last in this industry are the ones who love the work, not the results of the work. It's what I love about Kevin Smith's approach as well. We all know filmmaking is hard, so let's invest in making it fun, too! That is to say, the accolades you seek are the honor of continuing to work. How do you know if you are one such person who loves the work? Do not ask yourself what you're hoping to gain by being in the industry, but rather what you're willing to give up to stay in it. Can you shelve that big "one day" speech in exchange for the hard conversations on the way?

By no means do you have to work on independent or low-budget projects if your heart isn't in it. But, to be clear, after the tragic events on the set of Rust and the untimely passing of cinematographer Halyna Hutchins (currently being discussed in the Filmmaking Lounge and the Producing Lounge), safety and accountability are required whether you are on a union shoot or not. Therefore, do not let these issues dissuade you from participating in independent features. On the other hand, if you're starting out or looking to make a change, independent or low-budget projects may be exactly what you need to succeed.

This is the first blog of a 4-part series reflecting on my experiences in production with director Shane Stanley. While it is short-sighted to simply compare him to Roger Corman, known as the "King of the Bs" (Shane's films have significantly higher production value), it is with great admiration that he be put into the same school of thought: If you want to make films, invite the people you like to work with, and give everyone a chance to play and grow. He's even written a book about it (I can't wait to read it!). It is my sincerest hope that you, too, learn to grow as professionals in the filmmaking industry through this series.

Today's rumination touches on the mindset required to weather the storm of working your way up the ranks in production. It's easy to want to fight all the battles Hollywood is fighting to change production - long working hours, unsafe working conditions, fair wages, full benefits. Sometimes the only change you can initiate, however, is the one to keep you working within your professional parameters. Do take to heart that this information is just as much for your benefit as it is for your chosen project. While I'll be focusing specifically on the production team (e.g., production assistants, production coordinators, and production managers), these principles also translate to the camera and art departments.

PART 1: THE APPROACH TO LEARNING ON THE JOB

Give Early and Often

There is so much you can give before you have the job. Give thanks, share information, give advice. You may even be able to make an offer, but before you can jump into a project with both feet, your new collaborator will want to know what you bring to the table. The one thing that is absolutely within your control (and cannot be trained) is a good attitude. An attitude of gratitude and generosity is ideal, regardless if you are in front of the camera (as this "actorpreneur" discusses) or behind it.

For example, I met Shane when I stumbled upon this gem of an interview. In it, he mentioned both why producers won't read your script (a fantastic kernel of knowledge that most people do not volunteer) and that he knew CJ Walley. I knew I had to reach out to him! So, I dropped him a direct message on Instagram (it's where I go if I can't find them on Stage 32), thanking him for his wise and brave words. I also mentioned I knew C.J. through Stage 32 and then offered to chat about the possibility of him working with us. Before I asked anything from Shane, I offered him gratitude and an opportunity to work.

This particular philosophy comes back to a point Stage 32's CEO RB Botto has made on numerous occasions. It has rung true for me of late: always start a conversation, a relationship, a collaboration with giving something of value. Kind words? Good value! Good advice? Great value! A chance to work on a project? Fantastic value! When you show this generosity before you get on set, you establish your attitude as giving or "we-centered," not taking or "me-centered."

The best part about "we-centered" creatives? They are more likely to listen than be defensive. They are more likely to learn and adapt than make excuses. They are more likely to be patient (like this screenwriter pitching his animation project) than rash. And when they push back? You know it's for a good reason.

Own Your Victories & Your Failures

At some point, the conversation may turn to you. What do you do? What do you want to do? What are you working on? When chatting with Shane for the first time, this came about naturally since he teaches up-and-coming filmmakers, and I used to teach film and video production to teenagers. As is often the case with volunteering information, there was a risk that he would misconstrue what I did for what I wanted to do. It was worth it to articulate what I loved about teaching and clarify why I could not justify going back at this point in my career. *If you're down with the teaching lingo, this section is all about "setting expectations."

Discussing your victories and failures, whether in a formal interview or informal meet-up, is rarely about the mistake you made. Instead, they want to know that you will not make that mistake again. Your answer will foreshadow how you will perform while on set where mistakes will happen, by everyone at least once. Messing up isn't the end of the world, but don't make yourself look worse by defending your mistake. At the moment of failure, you've cost the production something - time, money, heartache - don't ask them also to provide you comfort. Show them that you can take the hit and keep going. Taking responsibility for your actions also demonstrates care for yourself and respect for their time. Respecting someone's time is a precious quality in a collaborator!

All that said, you can still share your victories (ideally without tearing anyone else down). Collaborators want to know what you excel at, just not to the detriment of their own interests. Protect their interests before you protect your ego, and you'll have a job in production any day of the week. The next frontier of production? Protect your well-being before you protect their interests - in other words, choose your battles wisely. Any struggle that involves the safety of yourself or your crew is always warranted.

Be Prepared for the "Ask"

This conversation should really be renamed "The Art of Push Back" or "How to Make a Counter-Proposal." Of course, the only way to make a counter-proposal is to listen carefully to the original "ask" and know what you need. Most people new to the industry interpret the offer-counteroffer conversation as a battle of egos, but it is more accurately an uncovering of self-awareness at its core.

For someone else to invite you to audition, apply, or join them on set, it means they already know what they are looking for. When they ask, they are not giving you a chance. They are attempting to fulfill their own needs. If you are interested in helping them meet their needs, then the best way to do that is with you at your best. This is where your self-awareness plays a crucial role.

To prepare for the "ask," you must reflect and determine your boundaries. What is your minimum pay? What are the maximum hours you can safely work? What roles are important to you to take? Where do you want to be in a year, two years, five years? Ideally, you've determined this on your own before this moment. Unfortunately, I've made the mistake of taking time after the "ask" to make the decision, by which point the offer was gone. This is particularly important because if you take a role you don't see benefitting your career, then no amount of money or prestige will make up for it.

I'll never forget this particular "ask" as long as I live: "What would it take to get you on set?" Shane said as we wrapped up our first Zoom. My answer didn't fit with what he was offering, yet he persisted. "I'd love to have you on set as our 2nd A.D." To say the least, I was flattered. Sometimes it's not about the money. When someone you respect offers you a job you were never interviewing for? Yeah. A once-in-a-lifetime opportunity.

When Shane offered me the position on Double Threat last year (2020), I was prepared to fully support the 1st A.D. reconciling receipts, nailing the lunch orders, and seeing that the production assistants were trained and utilized effectively. I offered this because it was within my wheelhouse and would not cause me any extra stress. While I had no interest in building up my resume leading up to an Assistant Director nor a Production Manager, I knew that I would have a chance to show people in L.A. that I was someone they wanted on their team, no matter the position. Cementing those relationships was what I bargained for, and boy did I get it!

The final phase of any verbal agreement should go without saying, but common sense is not always apparent. It is on your honor to speak of any foreseen issues before you make an agreement. In production, people will hire you to be more than a problem-solver; they will want you to be a problem-preventer (or, as I like to say, "people don't want just a body, they want a brain, too"). Show them you are a problem-preventer from the onset!

In my case, there was a scheduling conflict. Logistically, I should have been able to handle both, but energetically, I was worried it would be too much after the toll of nine months under COVID lockdown. Luckily, Shane saw a way to compromise. I would start later in the production to ensure his project would have my full attention. Yes, sometimes being forthright will cost you the job. Being upfront, however, will also earn you respect and trust, two things that are essential to working in film production.

Shane recently posted a reflection about his latest film experience and shared his appreciation for the relationships that enabled him to make the film. He may not be clutching a little gold statue, but something much more valuable; a completed film to which he is proud to attach his name. May we all be so fortunate!

This blog launches a four-part series based on my experience moving from 2nd A.D. to 1st A.D. (or Production Coordinator to Production Manager) and how I continued to mentor those around me just as Shane mentored me. With insights into the logistics of production and professional philosophies on how to conduct oneself, I hope this blog series will help you and your crew feel more safe and encouraged, no matter the resources.

In the next blogs, we’ll be exploring some of these topics in more detail:

• Resolve to Do Better
• Train & Delegate
• Communicate & Confront