The Hubbub

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Breaking It Down: The Art of Indie Film Planning

No Glam, Just Grit

 

Independent filmmaking is often portrayed as a raw, unfiltered process where creativity knows no bounds. But the moment I start planning; I quickly realize that the “anything goes” approach I bring to story development doesn’t always hold up. In reality, indie filmmaking is a constant negotiation—usually with me—between ambition and the practical constraints of time, money, and resources.

This past weekend, I broke down the script for my new short film, Sweet Nothings (formerly So Close). What seemed effortless on the page now demands careful planning—figuring out shots, effects, wardrobe, props, and how to pull it all off within the limits I have to work with.

Breaking Down the Script

A script breakdown is where the rubber meets the road. It is the process of analyzing each scene to figure out everything needed for production. It’s more than just logistics—this is when the film starts taking shape. Here’s what it involves:

      • Vehicles: What’s needed for each scene, including logistics for movement and positioning.
      • On-Set Sound: Dialogue, ambient noise, and any practical sounds that need to be captured live.
      • Sound Effects: What can be added in post-production vs. what needs to be recorded on set.
      • Locations: Availability and restrictions that impact scheduling. If a location is limited to one day, wide shots and master coverage take priority, with close-ups and inserts picked up elsewhere.
      • Props & Wardrobe: Essential items vs. set dressing, and how many versions are needed for continuity.
      • Hair & Makeup: Special requirements for character looks, aging, injuries, or transformations.
      • Effects:
        • Practical/In-Camera: Achieving effects without post-production VFX.
        • Mechanical Effects: Physical rigs, such as making a car appear to be moving.
        • Special Effects: Smoke, breakaway props, fake blood, or other physical effects.
        • Visual: $$$

Sounds tedious, right? But once I get past that ‘What was I thinking when I wrote this?’ moment, breaking down a script becomes one of my favorite parts of pre-production. It’s when I start seeing what’s possible within the constraints of budget and time. It also guides decisions on visual style, effects, and wardrobe, balancing what’s needed with what’s doable.

Making It Look Good

For Sweet Nothings, most of the story unfolds inside a 1960s luxury sedan. The challenge is creating a visceral, surreal atmosphere, focusing on practical effects like creative lighting, camera angles, and in-camera tricks to set the tone.

What’s been on my mind lately is the overall vibe of the film and how best to use the car’s interior to heighten the tension. I’ve been considering how mechanical effects can serve as practical solutions. By using lighting, clever blocking, and incorporating techniques like forced perspective, I can craft a surreal space. Ultimately, I want the space to feel both intimate and claustrophobic—adding to the unsettling vibe.

Words Into Shots

Once the script is broken down, I start considering a list of shots, turning the written word into a visual plan. For Sweet Nothings, I think through each scene, considering the best way to capture the desired look and feel. The breakdown gives me ideas and helps me think about what’s feasible. It sparks my creativity and encourages me to come up with solutions that are interesting and resourceful—without relying on a big budget. The constraints of a tight budget are freeing because it forces me to focus on creative solutions that work with what I have.

Some sequences might read well on the page, but once I factor in time and resources, I might need to adjust them. The breakdown helps me make those decisions early, knowing that the list will continue to evolve until we’re on set.

Shot Considerations

      • Essential Shots: What’s required to tell the story clearly.
      • Inserts: Close-ups of objects or details filmed separately.
      • In-Camera Effects: Techniques like lighting changes, forced perspective, or hidden rigs to create practical effects.

Wardrobe, Props, and Making It Work

Once the script is broken down, I can better determine the wardrobe, props, and set dressing I’ll need. Here’s what I’m considering:

For wardrobe:

      • How many versions of each costume are necessary for continuity, damage, and wear?
      • Can costumes be reused across multiple scenes?
      • Should I have backup options in case something gets damaged or stained?

For props:

      • Which props are essential for the story, and which are simply for background?
      • Can anything be repurposed or modified instead of buying new?
      • Do I need multiples in case something is destroyed during filming?

For instance, if the lead character wears the same dress throughout the film, I’ll need at least two or three identical versions. If a prop plays a key role in the plot, there must be a backup. These details need to be worked out before filming begins, not after something goes wrong on set.

Creativity on a Budget

Breaking down the script, creating a shot list, planning practical effects, and organizing wardrobe and props all come down to one core issue: balancing creative ambition with what can be achieved.

Independent filmmaking often requires trade-offs. I may not be able to afford a complex location, but I can dress a simpler space to create a similar effect. The budget might not allow for an expensive lighting setup, but I can time the shoot to capture natural light at the right moment.

Filmmaking isn’t just about having big ideas—it’s about figuring out how to make those ideas work within the limitations you’re given. It’s about being resourceful and creative, using what you have in unexpected ways.

Final Thoughts

Filmmaking is a constant balancing act between creativity and practicality. Through the process of script breakdowns, shot planning, and strategic use of props, wardrobe, and effects, filmmakers can bring their vision to life—one painfully, frugal decision at a time. Limitations aren’t obstacles; they often spark the most innovative and resourceful solutions.

If you’re passionate about filmmaking and want to follow along on my journey as I produce Sweet Nothings, be sure to subscribe for the latest behind-the-scenes insights, tips, and lessons learned.  I’d love it if you’d join me.

 

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The Hidden Struggles of Filmmaking

5 MIN READ

Making a short film is fun but also a lot of work, especially when pulling everything together on a tight budget and schedule. You think a short film should be simple, but the more you plan, the clearer it becomes: even short ones demand far more effort than most people realize.

Script Struggles

Adaptation

Let’s start with the script. The first draft usually sucks. You might get some good lines, maybe great ideas, but overall, it’s rarely a home run.

By the time you get to Version 3 (where I am now), you’re second-guessing every change. Every tweak sparks the same questions: Is this better? Did I ruin it? Why do I suck? I tend to overwrite, only to pare it back to the “final” version. But the story is never really done. Eventually, you must commit and move forward. Otherwise, nothing happens.

The Grind: Pre-Production

Tangerine

At some point, you have to dive into pre-production. You’ll need to lock locations, sort equipment, and gather props and costumes. Then there’s the stuff you CAN’T control—weather, last-minute changes, technical issues. Let’s not forget securing insurance so one mishap doesn’t tank the shoot.
It’s a lot of hurry-up-and-wait, bouncing between tracking down a vehicle (DONE!) to worrying about how much time you have before your first day on set. And just when you think you’re set, you realize you haven’t even started rehearsals. You always feel under the gun because once cameras roll, there’s no turning back.

A Million Tiny Details: Script Breakdown

A Serious Man

The script is the foundation; the rest is a mess of logistics and problem-solving. Once it’s “done,” it gets broken down, pulling out every detail needed to make it real: props, locations, costumes, timing. It’s all the stuff—explicit and implicit—that may or may not be in the script. And that’s when I realize how many details I’ve missed.

Budgeting the Dream

Ed Wood

You have a vision, but reality kicks in fast once you start making a budget. No one wants to sacrifice their ideas, but money runs out quickly. Props, permits, extra shoot days—it all adds up. Making it work takes friends, favors, and a lot of frugality.
For this shoot, I’ve secured permit-free locations through friends and called in a favor for a 1968 Plymouth Newport. Still, no matter how much I plan, surprise expenses always pop up. Filmmaking is expensive, and getting it right isn’t cheap.

A Wide Net: Casting for the Perfect Fit

Blue Valentine

Casting isn’t just about picking the best audition; it’s about finding someone who is the role. The right actor brings something unexpected, making the character feel real.

But first, there’s the grind: posting, submissions, auditions, callbacks, and hoping your top choice is available. Even then, schedules need to align, rehearsals must happen, and you hope the chemistry works. No matter how much you plan, it’s hard to know until the cameras roll.

Unsung Heroes: Crew

A Ghost Story

Even with great actors, you’re dead in the water without a solid crew. DPs make the film visually interesting, a sound person keeps the audio clean, the editor stitches it together, and the producer or AD keeps things moving.

It’s a balancing act. Everyone has their vision, and as the director, it’s my job to keep it aligned. Trust is key—trust everyone shows up, does their job, and elevates the film. But even with the best team, things go off track. And when they do, we’re all scrambling to fix it.

Final Push: Post-Production

Swiss Army Man

Post-production: the real work begins. Editing, color correction, sound design— this is where the film actually takes shape. Everything you thought was finished gets picked apart and refined. It’s endless, tedious, and full of late nights tweaking tiny details that seem minor but make all the difference.

At the end of the day, you’re left with a finished product—but it’s hard to truly feel like you’ve “finished.” You’ve spent so much time and energy getting here that the idea of watching the film for the first time and saying, “Yep, that’s it. We’re done,” seems impossible.

DIY Hustle: Marketing

Marketing Collateral: The Blair Witch Project

 

If filmmaking is tough, marketing is tiougher.  You’re building the ship while you are launching .

You got to start months in advance—teasers, behind-the-scenes clips, constant updates—to keep people interested. Before you catch your breath, it’s time to submit to festivals and map out a strategy.

And even then, you can’t just sit back. The grind continues—building support, gaining interest, getting feedback, making sure the right people see it. A great short film isn’t enough to get noticed. Marketing is what makes it stand out.

And…That’s a Wrap

Making a short film is more than just an idea—it’s a journey full of challenges. It’s stressful, exhausting, and often frustrating, but the reward is worth every late night and tough decision. You’ll gain a deep respect for the craft, and when it’s done, you’ll understand why it’s all worth it.

Thinking about making a short film? Be ready for the hard work and unexpected bumps along the way. But that’s the ride.

For more filmmaking tips, sign up for our blog below and stay updated!

 

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The Crew Makes The Movie

4 MIN READ

Moving forward with my new short, So Close, I’m learning as I go. Every project is different, with new challenges to tackle. One thing that’s clear, though: having the right crew is essential. Without a solid team, nothing works. I have producing experience, but to make this film a success, I need the right people in the right roles.

Director (That’s Me)

Clerks

I’m juggling the director and producer hats for pre- and post-production, but on set, my focus needs to be on the creative side. The director’s role is to oversee the creative direction and manage the overall vision of the film. I’ll be there to make the big decisions, but I need to trust the team around me to handle the details so I can stay in that creative zone.

Director of Photography (DP)

BİRDMAN or (The Unexpected Virtue of Ignorance)

The DP is key to executing the visual style I envision. A DP who has editing experience is a bonus. They should make creative decisions that contribute to pacing and flow while considering post-production needs.

On-Set Producer

The Revenant

I need an on-set producer to handle logistics: managing the schedule, solving problems on the fly, and keeping things on track. A good on-set producer anticipates issues before they happen, keeps momentum even in chaos, and ensures everything runs smoothly. They coordinate with the crew, make sure everyone has what they need, and keep production moving. They’re the glue that holds it all together, allowing me to focus on directing.

Actors

La La Land

Casting isn’t just about finding someone with the right look or talent. For me, it’s about chemistry. I need actors who not only fit the roles but who also click with each other on-screen. That means I need to meet with actors in person.  I need to see how they interact with the material, how they respond to direction, and how they work with other performers. Chemistry can’t always be predicted from a headshot or reel. Sometimes the magic just happens when two actors click, and that’s something you can’t know until you’re in the room with them.

Sound

Blade Runner 2049

It’s tempting to focus on what’s in front of the camera, but without the right sound, the film will fall flat. I need someone who understands how to create the right atmosphere and isn’t just focused on capturing dialogue. Sound design is vital for bringing the world of this film to life. A great sound designer can take a scene that might otherwise feel flat and give it texture, making it feel like the viewer is right there in the moment. Whether it’s capturing the subtle background noises or using sound to accentuate moments of tension, sound is key to immersing the audience in the world we’re creating.

Production Assistant (PA)

Miller’s Crossing

A Production Assistant (PA) is an under appreciated role on set, but they’re invaluable. They need to be willing to jump in wherever needed, whether it’s running errands, assisting with props, or helping organize the set. A positive attitude and quick thinking go a long way in this role. The PA needs to be reliable, quick on their feet, and eager to pitch in when necessary. From coordinating lunch orders to assisting with camera setups, the PA is an essential part of keeping things moving.

Grip

Evil Dead

The grip is key to handling the physical setup—lighting, equipment, anything that needs adjusting. I need someone who’s fast, reliable, and can think on their feet, especially when things don’t go as planned. Grips handle lighting, rigging, and basically anything that isn’t nailed down on set. In many ways, they’re problem solvers who have to make sure everything looks great visually. Whether it’s moving equipment in tight spaces or dealing with unexpected lighting issues, they’re the ones who make sure the technical side of things runs smoothly so we can focus on making the best film possible.

The Importance of Trust and Collaboration

The Florida Project

Above all, building a team where trust flows freely is essential. The more I trust my crew, the more they bring to the table. It’s not just about finding people who can do their job—it’s about finding those who are invested in the project and eager to collaborate. A film is a team effort, and when everyone has a voice and a stake in the process, the result is far greater than what any one person could achieve alone.

I don’t have it all figured out, but I know that assembling the right team is key to making this film a reality. My goal is simple: create something honest, collaborative, and full of heart. With the right crew by my side, I believe we can do that.

Want to follow along as I navigate this filmmaking journey? Sign up for my blog  below!

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Finding Indie Film Locations Without Blowing Your Budget

Clerks, 1994
4 MIN READ

Securing the right locations for your indie film is one of the biggest challenges, but it doesn’t have to drain your budget. There are plenty of creative ways to tap into resources already within reach. Here’s how I’m making it work for my current project—and how you can, too.

Ask Around

The Godfather, 1972

Your network is one of your best assets when scouting for locations. Don’t hesitate to ask around—friends, family, colleagues, and acquaintances often have access to spaces you wouldn’t expect. It’s surprising how many people have homes, yards, or unique spots just waiting to be used in a film.

For my current short film, a friend is connecting me with car owners who have mid-’70s to mid-’90s luxury sedans. These cars will serve as the main location for the shoot. It’s a huge win because I don’t have to rent a car, and it provides a controlled setting for filming.

Stretch Your Spaces

Inception, 2010

If you can use one location for multiple scenes, do it. Whether it’s a backyard, a property, or even an office, think about how you can stretch the potential of a location. Filmmaking is all about resourcefulness, and this is one area where you can make a big impact with minimal effort.

I’m also connected with a neighbor who might let me use their property, which could serve as both a green room and the exterior for the final scene. That’s two birds with one stone—one location, two major uses. Plus, my own yard has a wooded path big enough for a car, which could work as the final location, with my house serving as the green room.

Less Is More

The Straight Story, 1999

Sometimes less is more. Rather than searching for an elaborate set, consider minimalist locations that focus on atmosphere rather than complexity. Simple, clean spaces can work wonders, especially with the right lighting and props.

For example, empty warehouses, stairwells, small cafés, or even urban streets can provide the perfect backdrop without requiring much set dressing. These types of locations are often low-cost and can be tailored to your film’s aesthetic with a little creativity.

Public Space, Private Story

The Florida Project, 2017

Public spaces like parks, libraries, and community centers can be great options for budget-conscious filmmakers. While permits are required to film in these spaces, they’re often affordable, especially for smaller productions. Sometimes, a local film commission can help you secure these permits at a discounted rate, so it’s worth checking in with them.

Keep in mind that busy public locations can complicate things. High foot traffic or popular spots might not offer the quiet atmosphere needed for filming, so time your shoots during off-peak hours or choose quieter areas. Public spaces can still be one of the best options when you’re trying to keep your costs down.

Off-Hours, On Budget

Moonlight, 2016

Some locations—like restaurants, nightclubs, or small businesses—can offer free or discounted access if you film during their off-hours. Early mornings, late nights, or days when they’re closed are perfect times to shoot without disrupting their operations.

Local businesses are often willing to make deals for indie filmmakers if you’re flexible with timing. A late-night shoot in an empty bar or early morning in a restaurant can save you money while giving your film a natural, authentic backdrop.

Bartering for Budget

Mad Max: Beyond Thunderdome, 1985

If location rental fees are out of reach, consider offering something in exchange for location access. Many local businesses or private property owners may be open to the idea of barter, especially if they’re looking for exposure or content of their own.

For example, offer to create a promotional video for a café or generate social media content for a business. This is a great way to offset costs and build relationships with the community while securing high-quality locations for your film.

Find Hidden Gems

Raiders of the Lost Ark, 1981

Local film commissions, film offices, and filmmaking groups often have access to hidden location gems. These groups can sometimes arrange discounts or incentives for indie filmmakers. Not to mention, many venues are willing to collaborate for exposure or visibility, so don’t shy away from reaching out.
Even if a location isn’t immediately available, these communities often have tips and connections that can help you track down what you need.

Final Thoughts

Finding affordable film locations isn’t about settling for less; it’s about getting creative with what you already have access to. Whether it’s a car, a friend’s property, or your own backyard, there are plenty of ways to make your film look great without high costs. Sometimes, the best options are right in front of you.  You just have to know where to look.

Got a great location tip of your own? Share it in the comments below—let’s keep the conversation going and help each other make our indie films even better!

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Drag Yourself to a Local Film Festival

Why You Should Drag Yourself to a Local Fest

Film festivals are chaos—the good kind – where you walk in thinking you’ll just watch some films and maybe meet a few people, and walk out overstimulated, slightly overwhelmed, and questioning your life choices (in a good way).

Festivals can be intimidating. There’s a lot of energy, a lot of people who seem to know exactly what they’re doing, and a lot of conversations where you’re not sure if you should jump in or quietly fade into the background. But all that aside, showing up is what matters. If you’re trying to break into filmmaking, meet collaborators, or just get a better feel for how this whole thing works, local fests are worth your time.

Brace Yourself

Festivals move fast. One minute, you’re watching a five-minute horror short that hits pretty hard. The next, you’re in a hallway, talking to someone who just made a film that is both simultaneously unpolished and inspiring. It’s the kind of thing that makes you question everything you thought you knew about storytelling.

For me, it’s best to have a plan. It helps me from getting lost in the shuffle. Do the prep—figure out which shorts, panels, and events speak to you. But don’t overschedule. Some of the best moments happen when you’re just hanging around, between screenings, and find yourself in a conversation with someone who reminds you why you’re doing this in the first place.

Find a Buddy

Festivals are a lot more bearable with someone by your side. If you don’t have a buddy, find one. Start a conversation in line or chat with someone at a panel. Having a festival partner makes everything a little easier—especially when there are only two film blocks, and you can’t compare notes on what’s worth seeing. At least you’ll have someone to escape with when that one “networking opportunity” starts dragging on for way too long.

One of the most powerful things you can do at a festival is introducing people and helping others out. I’ve learned that giving first creates stronger connections and fosters a better festival experience for everyone. By offering a valuable introduction or simply helping someone, you’ll build relationships that are much more genuine—and trust me, it pays off.

Connect, Don’t Pitch

You don’t have to be an extrovert to network at a festival. Just be genuinely interested in the people around you. Ask about their work, what films they’ve seen, what brought them to the festival. People love to talk about themselves, and they’ll open up about what excites them if you just ask.
Business cards are essential. Mine have a QR code to make it easier for people to scan and access everything in one place—my website, email, phone number, and all my socials. It’s basically one-stop shopping.

But don’t just collect cards—real value comes from following up after the fest. If you talked about collaborating, suggest a time to grab coffee or chat online. The festival ends, but your connections shouldn’t. Keeping those relationships alive is key.

Watch Films

It’s easy to get caught up in the schmoozing and forget why you’re actually there: the films. Support indie filmmakers, take in new perspectives, and get inspired. Even if you’re there mostly to network, watching the films gives you a natural conversation starter.
Make a point to step outside your usual genre. You might be working on a horror script, but that avant-garde short could teach you something unexpected about pacing or visual storytelling. You never know what might spark your noggin.

Hit the After Party

Most collaborations and genuine connections in indie film happen in the social situations.
Find out where people are going after the screenings and panels wrap. These laid-back settings are where conversations flow more naturally, and you never know what will come out of the event.

Don’t skip them—sometimes the real connections happen when it’s just a group of filmmakers hanging out after hours. I’ve made some connections and strong personal friendships at festival events and through Boston Indie Mafia events.

Final Thoughts

Local film festivals are one of the best ways to level up as a filmmaker. You’ll learn, meet people who get what you’re trying to do, and maybe even walk away with your next big opportunity. Plan ahead, be open to unexpected moments, and most importantly—have fun.

Here are the events I currently have on my calendar.

If you’re going to be there too, hit me up. Let’s connect.

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The 4 B’s of Indie Film Budgeting

A Day Late and a Dollar Short

I know, I know – I was supposed to publish on Monday. Good thing we’re talking about budget and not schedule,

“I’m a cut price person in a low budget land.”
– The Kinks

Budgeting For My Next Film

If you’re anything like me, budgeting can feel overwhelming but it’s a necessary part of getting your project off the ground – especially for indie filmmakers working with limited resources (I know, redundant)

This week, I’m deep in the process, figuring out how to make every dollar count for So Close, the short I’m planning to shoot in May.

What I’m Tackling This Week

    • Securing Free Locations: I’ve been following up leads to lock down locations – specifically the vehicle I intend to use as the location for most of the film.
    • Getting Permit Info: Even if I don’t need a permit, or plan to shoot Guerilla style, I want to know what the potential disruption could be.
    • Contacting Production Houses for Equipment Lists: I already have some gear but understanding potential rental costs help me plan for anything I might need.
    • Earmarking Cast & Crew Payment: I don’t have much, but Im making sure I allocate what I can.

The Four B’s of Budgeting

Before I can Beg, Borrow or Barter, I need a Breakdown – because asking for favors without a plan is chaos. Without knowing what I need, I won’t know what to ask for, what I can skip or where I can cut corners.

    • Breakdown – Figuring out exactly what I need, from locations to gear to props, so I don’t waste time or money. The more detailed my breakdown, the fewer surprises down the line.
    • Beg – Don’t be afraid to beg—politely, of course! Whether it’s asking for favors, discounts, or a little extra time, people can be surprisingly generous when you ask in the right way.
    • Borrow – I’m reaching out to frineds and local filmmakers to see what I can borrow before renting. You’d be surprised how many people are willing to help if you just ask.
    • Barter –  If you’re good at something – whether editing, graphic design or script consulting – see if you can trade services for things you need, like sound work of production support. Im good at developing content and sites for the web. #justsaying

Lessons I’m Learning in Real-Time

Even in these early budgeting stages, I’m already running into the common pitfalls:

    • Unexpected Costs are Inevitable: Something always comes up, so setting aside a small contingency fund is essential.
    • Small Expenses Add Up: Meals. Gas. These things will quietly drain your budget if you are not paying attention.
    • Time IS Money: Every hour spent spinning my wheels on logistics is time not spent of creative work. I just need to keep moving forward.

What’s Your Best Budgeting Hack?

I know I’m not the only one navigating this.  What’s the most effective or creative (or ridiculous) way you’ve saved money on a film? Lets share ideas!

Want to follow along as I keep figuring this all out?

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Give. Connect. Repeat.

“Give Sam Stanley the glad hand. He’s over from Spokane”
– Twn Peaks: Fire Walk With Me

4 MIN READ

networking  noun
/ˈnɛtˌwɜrkɪŋ/
1. The action or process of interacting with others to exchange information and develop professional or social contacts.

Networking.

Just the word can feel disingenuous. Sometimes it’s exhilarating, sometimes overwhelming. For me, it’s always intimidating. It always looks easy in the movies—glad-handing and schmoozing that lead to backroom deals.

But that’s not my reality, or most people’s I know. It’s often more about taking a deep breath and walking into a room full of strangers, trying to sound interesting without looking desperate. Sometimes it’s standing awkwardly alone, mustering up the courage to dive back into the flow of the night. Not exactly my idea of a good time.

What I really need to remember when I’m in that place, before I take the deep breath, is that networking isn’t about putting on a show. It’s about relationship building – about being yourself, finding people you want to talk to, and figuring out how you can help each other without it feeling transactional.

“Hope is a good thing, maybe the best of things…”
– The Shawshank Redemption

When my son was little, I couldn’t connect on actual projects. Instead, I found myself building a social network on Twitter to connect creatives—filmmakers, screenwriters, actors, cinematographers, and the like—amplifying their work and fostering relationships. That small effort eventually grew into Boston Indie Mafia — a community built on mutual support, shared resources, and the belief that we rise together. Back then, I wasn’t thinking about how networking would shape my own career. I was just creating the kind of space I wished existed. But looking back, that experience taught me a fundamental truth: the strongest networks are built on giving first

“You get what you give.”
– Pay It Forward

Building connections isn’t just about what I can gain—it’s about what I can give. I make an effort to share what I’ve learned, connect people who might benefit from knowing each other, and support various projects within the community. Fellowship and giving back keep the community alive and thriving.

This mindset has made all the difference for me. Instead of approaching it as a means to an end, I see it as an ongoing conversation, a community where everyone has something to contribute. Working on others’ projects has also become a form of giving, allowing me to support and uplift the creative efforts of those around me. That’s what I want to continue fostering, whether through social media, industry events, or the small, everyday interactions that make all the difference. Remember, the strongest communities are built on giving first.

“We’re all pretty bizarre…”
– The Breakfast Club

Early on, I thought of networking as something formal and structured—industry mixers, business cards, and stiff conversations. But I quickly learned that real networking happens in unexpected places: a Twitter thread, a post-screening chat, a spontaneous coffee with a fellow filmmaker. The best connections aren’t transactional; they’re built on genuine curiosity, shared struggles, and the willingness to help each other succeed.

Over the years, I’ve noticed how building connections has changed. Social media has made it easier to connect, but also harder to stand out. When I lived in Los Angeles, I picked up new ways to build connections. LA is a place full of opportunities, but it’s also packed with people chasing the same dream. For me, the most meaningful connections weren’t about professional achievements. They were about genuine conversations, where we talked about common interests rather than just work. It was about building real relationships, based on shared experiences and mutual support.

“You’ve got a friend in me.”
– Toy Story

One of the first things I did recently was reconnect with peers and past collaborators — not with an agenda, but out of genuine interest in where their journeys had taken them. Some had left the industry, others had built impressive careers, and a few, like me, were exploring new creative directions.

These conversations weren’t about finding work; they were about rediscovering the people who made filmmaking meaningful in the first place. What struck me most was how naturally opportunities arose from these reconnections. When you invest in relationships without expectation, people remember you. They introduce you to others. They invite you into new creative circles. That’s how the best collaborations happen—not from cold emails or forced introductions, but from mutual respect and enthusiasm.

“Just keep swimming.”
– Finding Nemo

Filmmaking isn’t a solo endeavor. Building relationships is based on trust, shared experiences, and the understanding that today’s collaborator might be tomorrow’s partner in a new venture. The network I’ve cultivated over the years—both old friends and new connections—reminds me that success isn’t about climbing a ladder alone. It’s about weaving a web of relationships strong enough to support every creative risk and every new opportunity. So as I move forward, I do so with appreciation for the people who have supported me, for the ones I’ve yet to meet, and for the knowledge that the best networks aren’t just about career advancement. They’re about building something bigger than any one project. They’re about creating a space where we all have the chance to do our best work—and to help others do the same, even if it means navigating a few challenges along the way.

Now, it’s your turn. Think about the connections you’ve built by giving first. Share one meaningful collaboration or connection that came from being genuine and supportive. Let’s hear your story.

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Journey Without a Map

Off the Beaten Path

“The journey of a thousand miles begins with a single step.”
— The Way

4 MIN READ

I grew up in a place where the other shoe was always ready to drop. It was best to keep your head down and wait for the inevitable fallout. Questioning things wasn’t an option—you just stayed quiet and figured it out as you went. This “Fake It ‘Til You Make It” approach often left me feeling one step behind. Over time, I started to believe that everyone else knew what they were doing, and I had missed some crucial lesson along the way. I share this, not as a sob story, but to give context for both my general approach to life and my creative work.

So, when my friends talked about “finding their voice,” I couldn’t shake the feeling that I was missing something. But I’ve learned that’s not how it works. Finding your voice isn’t a lightbulb moment. It’s a slow, gradual process—making mistakes, fumbling through uncertainty, pretending you know what you’re doing until you finally discover what really resonates with you—and then you stop pretending.

The Value of Doing

“Do or do not. There is no try.”
— Star Wars: The Empire Strikes Back

I used to think I needed everything figured out before I could start creating. But the more I tried to map it out, the more I got tangled in my own thoughts. Trying to define my voice before I even started only made things more complicated. You don’t get clarity by overthinking. You get it by doing. So, I trust that the answers will come as I go, and I just keep making.

You can’t wait for the perfect moment to begin. You learn as you go. The path only becomes clear when you take that first step, not when you plan it all out.

Reclaiming Your Voice

“We are who we choose to be.”
— The Iron Giant

My creative voice didn’t disappear—it got buried under doubt and expectations. Rediscovering it wasn’t a dramatic “Aha!” moment; it felt more like finding my way back after straying from the path. That sense of relief—of reconnecting with something familiar—became more important than any grand revelation. It wasn’t about uncovering something new but about shaking off the rust and returning to what I love about the process.

Even with that, there’s still a hint of fear. Part of me wants to test the waters, do just enough to say I tried, and walk away if it doesn’t feel right. But rediscovering my voice isn’t about having a perfect vision—it’s about taking the next step, and giving myself the space to explore, even if I don’t know where it’s headed,

Happy Accidents

“Mistakes are the portals of discovery.”
— Dead Poets Society


Here’s something no one tells you about “trusting the process”: it means you have to embrace failure. When I tried to control every little detail, the process was frustrating. I’d overthink everything and feel like I was spinning my wheels. But when I started to let go—the detours, the missteps, the moments when I thought I was totally lost—I tend to discover the good stuff shows up.

Inspiration in the Everyday

“It’s not the years, honey, it’s the mileage.”
— Raiders of the Lost Ark

Inspiration comes from everywhere — scary things, funny things, joyful things, music I play on repeat, and snippets of random conversations, and the filmmakers I admire — the Coens, David Lynch, Jeunet & Caro. I watch films and try to absorb what resonates with me — not copying them but about letting what moves me mix with my own experiences. When I trust my gut and bring in those quirky, personal pieces, the work feels right.

Create What You Know

“Don’t think. Feel.”
— Enter the Dragon

At the beginning, it’s easy to overthink every decision, second-guess yourself, and try to mold your ideas to resonate with others. I’ve been there, and the harder I pushed, the further I felt from why I started creating. It’s frustrating.

But I’ve realized that the moments when I feel most alive creatively have nothing to do with other’s expectations. They happen when I lean what excites me — the stories I can’t stop thinking about, the ideas that won’t let go. Those are the ideas drive me into a project.

Focusing on those stories is helping me reconnect with my voice. It’s about exploring what matters to me, even if it’s imperfect. By staying true to what feels real, I’ve found the work resonates in a way that feels authentically me.

The Road Ahead

“It’s never too late to be who you might have been.”
— The Curious Case of Benjamin Button

If you’re just starting out—or even if you’ve been at it a while and feel stuck—you’re not alone. The path isn’t straight, and that’s okay. It’s full of twists, turns, and moments of uncertainty.

If you’re feeling lost, take the next step, no matter how small. Embrace what excites you, make mistakes, and trust that things will come together over time. And then keep moving forward, even when you’re unsure.

That’s how I’m finding my voice. I’d love to hear your experience and where you are on your creative journey—drop a comment or share your thoughts! 

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The Power of the Unconventional: David Lynch’s Influence on My Creative Voice

5 MIN READ

 

 

 

 

 

 

On Thursday, January 16, we lost David Lynch –  a giant of film and art – and a personal hero. The post I had planned for today was about finding my creative voice, but I felt it could wait. for aweek

Instead, I wanted to take a moment to reflect on how much Lynch has influenced what my vision is becoming. His fearless storytelling, his ability to embrace ambiguity, and his unapologetic weirdness have all profoundly shaped how I see the world and approach my work.

“We live inside a dream”
– Phillip Jeffries, Twin Peaks: Fire Walk with Me

I’ve come to see the world like Lynch did — a surreal, weird, dreamlike thing. It doesn’t always make sense, and that’s okay. Maybe that’s why I’m drawn to his films — they don’t need to make sense. Life doesn’t make sense either, and Lynch taught me it’s alright to lean into that. Sometimes things just happen, and you have to roll with it , or you’ll miss the beauty.

“Sometime My Arms Bend Back.”
– Laura Palmer, Twin Peaks

Lynch’s films have a way of reminding you that there’s always something going on beneath the surface, something hidden just out of sight. I’ve started to look at life like that, and it’s honestly a little unsettling. But also, it’s where the good stuff is—the mess, the weird, the parts we usually ignore. Whether it’s a story or a character, there’s always more to it than what’s on the outside, and that’s something I’ve started to really believe in my own work.

“The owls are not what they seem”
– The Giant, Twin Peaks

This one’s huge. Life is full of contradictions, and things often aren’t what they seem. In Lynch’s world, you don’t trust what’s in front of you; you question it. It’s taught me that sometimes, your first impression isn’t the real story. Whether it’s a film or a person, there’s always more under the surface if you look close enough.

“Through the darkness of future past, the magician longs to see. One chants out between two worlds: Fire, walk with me.”
– The Man From Another Place, Twin Peaks

The world has dark corners – its underbelly – the stuff we pretend isn’t there. But it’s there. Lynch doesn’t shy away from showing us the ugliness, and I respect that. In a way, he’s taught me to look at the world with a darker lens—one that doesn’t sugarcoat things or try to make everything pretty. It’s not always fun, but it’s real.

“The mind is a wonderful thing, as long as you keep it open.”
– Dale Cooper, Twin Peaks

What really stands out to me about Lynch is how he never apologized for his vision. He stayed true to his ideas, no matter how offbeat or controversial. And that’s something I’m learning. I’ve spent too much time trying to fit into molds. Lynch just did his thing. And that’s something I’m trying to bring into my own filmmaking.

“An idea is like a seed. Once you have it, you’ve got to water it.”
– Dale Cooper, Twin Peaks

Lynch talked about how the best ideas come when you least expect them, when you’re not trying too hard to control everything. He let the ideas take him where they wanted to go, and that’s something I’m starting to do more.

I used to think I had to have every detail figured out before I could even start. But now I’m learning to just start, and let the story unfold. Maybe it won’t make sense right away, but that’s part of the fun. Lynch’s films have this weird, happy accident feel to them, and I think that’s what makes them so compelling. It’s about the journey, not the destination.

“I’m weird. I like weird.”
– Dale Cooper, Twin Peaks

At the end of the day, Lynch’s work is a reminder that it’s okay to be yourself. You don’t have to fit in, You don’t have to explain everything. Be messy. Be weird. Be uncomfortable. That’you don’t need to please anyone. Lynch never tried to and maybe that’s the biggest lesson he’s taught me—if you’re true to your own voice, that’s all that matters.

“You know, it’s a strange world.”
– Nadine Hurley, Twin Peaks

David Lynch taught me that things don’t have to be perfect, that it’s okay to lean into the weird and the uncertain, and that staying true to your voice is everything. If his work has ever spoken to you, take a minute to revisit it. Let it remind you that the strange, messy, beautiful parts of life are where the best stories come from.

 

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Finding Rhythm in the Chaos

Can I tell you a secret?

A sealed envelope sits on a chair with a film set in the background.
4 MIN READ

I have no idea what I’m doing.

I mean , I do — but sometimes it sure doesn’t feel like it.

It’s been a long time since I’ve been this deep in it, and it’s a bit like revisiting an old script—familiar, yet incomplete. The tools and processes are there, but they’ve shifted in ways I’m still adjusting to.

The good part? Filmmaking has always been about figuring things out on the fly. The learning curve is steep and a little intimidating, but I’m finding my way through, settling back into the flow of things.

It’s chaotic, but what production isn’t? Even the most carefully planned ones have their hiccups. Maybe the real progress is embracing the changes—and finding my rhythm once more.

Finding My Rhythm

The gear’s all here—cameras, lenses, field recorder, mics—everything to get the job done. Premiere and Photoshop feel like second nature, but picking up a camera again feels more like revisiting an old hobby than a mastered skill.

I’m not a DP, Production Sound, or Colorist, but I want to speak their language. For now, I’m experimenting with what I have and pushing myself to learn – DaVinci Resolve, LUTs, After Effects, Audition – Diving deeper, expanding my creative toolbox. Watching other films is sparking new ideas for my own work, helping me refine how I want my shots to feel, frame by frame.

This process is unpredictable but satisfying. Surrendering to it feels like a creative reset, reminding me why I love this work. My writing is embracing its surreal, darkly comic tone more than ever, bringing me a joy I haven’t felt in a long time.

Chaos:  My Creative DMZ

The truth is, I’m still figuring it out.

Filmmaking—and creativity in general —has a way of keeping you on your toes.

There’s always something new to learn, something unexpected to navigate. You can plan, you can prep, but once you’re in the thick of it, things rarely go as expected. The real challenge is learning to embrace the mess, not fight it

Sometimes the best moments come from happy accidents – the unplanned hiccups that force you to adjust and adapt. When things don’t go according to plan, its easy to feel like you’re losing control. But I’ve learned – sometimes the hard way – that staying flexible, often leads to the best outcome. The chaos, instead of something to fear, becomes something to lean into. And that’s where the real magic happens.

Order Through Chaos

Real growth happens when you step outside your comfort zone. Following familiar paths isn’t enough. I want to push boundaries – expand what I can do, and say. My goal is to surprise, to make people laugh and feel uneasy, sometimes all at once.

The surreal, darkly comic tone I’m embracing fuels that disruption. It’s where the absurd meets the serious, where chaos and unpredictability take center stage.  It’s not about making something that everyone will get. It’s about creating something that feels honest to me, even if it’s a little unsettling. And that’s where the real joy lies: finding order through chaos.

Embrace the Mess

This process is messy, but that’s the point. It’s in the chaos that I’m finding my rhythm again—reconnecting with the joy of creation and trusting my voice more than ever.

If you’re on a similar journey—whether in filmmaking or any creative pursuit—embrace the mess. Let go of perfection, trust the process, and most importantly, trust yourself.

I’d love to hear how you’re navigating your own creative chaos—drop a comment below or connect with me on         

Let’s keep the conversation going