Should I use Avid or Premiere (or Resolve)

As a professional editor of over 15 years, the most common technical question I hear from serious beginners is what software should I use for editing.  Now as of recent people have been starting to talk about DaVinci Resolve a lot more.  I use DaVinci Resolve all the time, but more for coloring, but it does seem like a promising software to learn for the future, especially because they have a free version, which always bring in more users, hence clients becoming more used to the program.  But I don’t use Resolve yet as I don’t think the shortcuts and organization fit editing quite as well as the two dominant editing systems in the industry right now: Adobe Premiere and Avid Media Composer.

Author Justin Joseph Hall in 2013

This is about the strengths of each of these applications, in my opinion, and when I would choose to use one or the other.

Top 4 features in Adobe Premiere

1. Modern simple workflow  that is customizable and accessible.  You can use almost whatever codec, timecode, and type of video file you have and just start editing.  There are some limitations, but overall it is much more flexible and you can decide to make proxies or not.  It adapts to your workflow and allows you to adapt to the system you’re working on and the footage that you have.

2. The Adobe Suite integration is amazing.  There is no other company that does so many visuals as well as Adobe does.  Photoshop is the industry standard.  It is what everyone has used for years for still images.  It’s what Avid Media Composer is to video, but it has even more of a hold on the industry due to its flexibility and ease of use.  Same thing with After Effects and simple motion graphics.  It’s included in the suite and you can do so much in the program.  On top of that there are other great programs and all of this comes at the same price as Avid Media Composer.

3. The ease of editing still photos and simple motion graphics in Premiere is much more flexible and intuitive than the very old system of add ons and nesting that Avid Media Composer makes you do.  It took the ideas of Final Cut Pro 7 and took them to the next level when Apple went a different direction with their video editing program.

Exports are also much easier with a separate program Encoder, and the easily editable outputs.  It’s much simpler than Avid’s confusing export console where exports really tie up your whole system and it’s very slow at encoding.  Even when I work in Avid I usually create a quick export (maybe even a reference export where there is no render made) and then re-encode in Encoder.  

Encoder leaves out options in lieu of simplicity which can really be frustrating at times.  For example Avid does make different color spaces much easier to navigate, but timecode and resolution differences are simple and as straight forward as typing in the values you want in Premiere.

4. Finally the process of reconnecting and managing media is much easier in Premiere.  It’s the main reason why you want to edit there.  Not only can it handle any codec in the timeline naturally (although making proxies is still recommended no matter how powerful of a computer you’re using).  But you have the option to cut natively and it’s easy to connect and reconnect footage.  I should mention Resolve is even better at reconnecting footage as it’s almost automatic, but Premiere is modern and intuitive while Avid’s system is outdated, protective and it erases most of your original file names and folder structure which makes it difficult to figure out things for yourself in finder, which is a hell of a pain.

Because of this ease, Premiere doesn’t require a technical person on the project like Avid does.  This can save money.  You need someone experienced in Avid to run the technical aspects of the system, Premiere is much more quickly accessible and a quicker gateway into creating something in Post without studying too much about very technical facets of moviemaking.

Top 4 Features in Avid Media Composer

1. Avid has all the bells and whistles you can imagine needing for the job.  Although Avid can feel slower, it is more thoughtful and the tools in the end, as you learn them make you work faster, so you can get your ideas from your head to the timeline in the least amount of time.  It’s customizable and is the standard in editing because it seems they thought of everything.  I hear of editors all the time that learn of a new Avid tool after working for 15-20 years.  It does really seem like they listen to editors and are inclusive with ideas, never throwing away old ones, just adding to the toolbox you can use.

2. Markers and script synch are a godsend to anyone who uses them in their workflow.  Organizing scripts, and written information about footage is so easy to manage, export outside of Avid and compile different visual ways of looking at your footage.  First off for anyone who does paper cuts (which I really don’t love, but it’s a common workflow), Script Sync makes it so easy for anyone to quickly find footage from a transcript.  It uses technology to click on the word and it’ll bring you directly to the audio in the video.

On top of that, the marker system is easily editable, color coded and easily navigated in many ways.  You can export markers and send them to Producers, or use them internally using Avid’s search engine to create databases that you can bring elsewhere or search right within Avid.  When you’re making a program with hundreds of hours of footage, this capability can vastly, vastly improve your show as if you prepare properly and are organized, when it comes crunch time at the end of a project (as it always does), you can fix small problems in 15 minutes from your database, versus taking a day to find a phrase, or a specific B-ROLL shot.

On top of that because it’s so easy to edit, the markers are able to be used as a visual indicator on the timeline  You can visually show where interesting sections of the footage are, or color code by person or place to visually see in the timeline different information.  This does take time to prepare, but it’s so excellent and isnt’ as frustrating as Premiere’s uncomfortable marker panel.

3. Avid’s system seems to be everlasting.  Jon Alpert who I’ve worked with, made two movies that spanned about 30 years on and off in the edit room, and the Avid projects could always be recovered because they use the same system as back when Avid started.  The project files still open many versions later.  Editors once they learn Avid will always feel comfortable there. 

4. The main reason Avid is the best is because no matter how large the project gets, it’s still usable and still possible to keep together in one project or a smaller set of projects.  This is because Avid uses bins that hold some of the project’s information, but doesn’t tax the computer with opening the entire project’s information at all times.  Only when you have certain bins open are you reading the information and taxing your computer’s memory with that information.  This makes it feel like your always just working on a small bit of the project and makes everything manageable.

If you do happen to use multiple projects, you can easily transfer bins between projects as long as the media is available wherever  you’re bringing it.  This means Avid is so easy to use with a server on huge television projects, or series of any kind.  If you have full teams working together on complicated archival or cutting multiple shows at the same time, Avid is a no-brainer.  Premiere is a sports car meant for one or two people, whereas Avid is like a vehicle where you can always add an extra seat for anyone you want at a standard predictable costs of a computer and a license.

In the end, both systems have carved clear spaces for themselves in the industry.  Premiere on projects under 20 minutes, for speed of use, exporting ease, and ability to work in the Adobe Suite.  For commercial projects it’s just so much more simple when you’re exporting a lot and switching shoots and footage often enough that you just want to quickly edit, send a project away on a drive and be ready to work for an individual person who can execute in Post-Production.

Avid, I’d use for projects over 15 minutes where organization of the footage content matters most.  Where you expect to spend a lot of time with footage to mold it into perfection and likely are working in a larger team.  Especially projects that will last longer than two or three months.  It’s so worth it.

As a final note, DaVinci Resolve again, doesn’t beat either of these projects when editing, but it’s getting there to compete with Premiere.  Because it’s an industry standard in color correction and media management, the ease of using DaVinci Resolve can speed up finishing especially if you have an editor color the footage.  It takes out a variable of switching software one less time which is great.  It’s just not as comfortable in managing screen space for editing as it is organized for finishing and not for sifting through lots of clips.  So it definitely is not on the way of replacing Avid, but look out Premiere.  Work in here if you want to future-proof your workflow or add a skill to your résumé.

If you have any other questions about Post-Production, please contact me at justin.joseph.hall@fourwindfilms.com

Writer’s biography

Justin Joseph Hall has held positions as Editor for networks such as HBO, NBCUniversal, and PBS.  At Downtown Community Television he helped pitch and develop the show Axios (2018-2021), the Emmy-winning documentary series.  Abuela’s Luck (2018) was picked up by all HBO’s streaming platforms and slated to be adapted into a full-length feature movie.   His mastery of post-production and the visual arts has awarded him opportunities to work with Major League Baseball, Dwayne “The Rock” Johnson, National Geographic, Discovery, and BMW, to name a few.

10 Tips for Getting the Most Out of the Austin Film Festival Screenwriters Conference: What's Missing From the Official FAQ

The Austin Film Festival (AFF) kicks off each year with its Writers Conference, a four-day event of panels and parties exploring the craft and business of screenwriting. For screenwriters, this is heaven, where they can celebrate and commiserate with their peers and idols as they learn, network, and bond.

I attended for the first time last year, and quickly honed in on the things I wish I had known before arriving in Austin. I’ll be attending again this year, where my screenplay BIGGER IN TEXAS is a Second Rounder in the Drama Feature Competition, a hard-earned win that I will be shamelessly flaunting on my badge, as any self-respecting AFF attendee should! More on that below.

The festival has its own FAQ page, but here are ten tips for how to get the most out of the conference.

[ID: A selfie of Laura, a woman with white skin, shoulder-length brown hair, glasses, wearing a black mask. Behind her is a room in the Austin Club full of other screenwriters waiting for a panel to start.]

1. Network before you arrive

If you’re like me, you’re on countless screenwriting-related email listservs, discords, and Twitter/X communities. Now is the time to start chiming in and asking if any of those anonymous screen names you’ve bonded with are heading to Austin this year. The more you make those connections now, the easier it will be to hit the ground running when you recognize each other in line for a panel, or need someone to eat a quick taco lunch with.

2. Network after you leave

Let those writerly bonds grow through the year. Everyone will be thrilled to exchange contact info after chatting, so make sure you follow up. Write down the contact info or photograph the badges of the people you loved chatting with. Create a networking spreadsheet that records what you chatted about, then drop a line to say hi after the conference. This is how friendships, collaborations, representation, and writing groups are born, so don’t let the opportunity pass you by.

[ID: Laura’s Austin Film Festival badge from 2022, complete with an image that matches her social media profile photo.]

3. Know your work

Every conversation will start with the question, "What projects have you been working on lately?" Before you leave, polish up an elevator pitch for your most recent project and a few short sentences on what you like to write, where you come from, and what makes you distinctive.

If you need direction for creating or strengthening your project elevator pitch, check out this episode of The Screenwriting Life with Meg LeFauve and Lorien McKenna, “The Elevator Pitch + Austin Film Festival Prep Workshop.”

Likewise, for your personal pitch, I recommend this article, “How to Create a Killer Personal Pitch That Will Help You Sell Your Project” (2019) by Carole Kirschner, Director of the CBS Diversity Writers Program and WGA Showrunner Training Program.

4. Bring comfy shoes

Make sure you pack shoes you can walk in. The conference does a great job at scheduling events within a walkable radius in downtown. Still, sometimes your schedule shakes out so you have to hoof it ten to twenty city blocks as fast as possible to snag a spot in a popular session.

[ID: A rainbow colored sculpture of a cowboy sitting on a long-legged horse in downtown Austin.]

Unfortunately, horses aren’t provided, so pack your good walking shoes!

5. Dress to impress your fellow writing nerds

Despite my best efforts (let’s be honest, nonexistent efforts), my collection of movie-related clothes grows year after year. If you’re like me, this is your audience – make an impression! Last year, I wore a bomber jacket that said “Don’t Fuck with Martin Scorsese” on the back… by the end of the day, I was in countless Twitter photos, and had tons of new writer friends who started conversations with me about the jacket. I was known for a day or two as “the girl with the jacket.” Go get yourself a nickname. (And will I be wearing it again this year? Of course! Come say hi.)

[ID: The writer from the back, standing in front of a green trellis, wearing a black bomber jacket with white sleeves and text that says “Don’t Fuck with Martin Scorsese.”] 

6. Dress up your badge

After you buy a badge, AFF will reach out to request a badge photo. Not only should you send a photo ahead of time (which avoids a long photo line at check-in), but you should send the same photo as your favorite social media handle (Instagram, X (formerly Twitter), Discord, etc.). This will help those who already follow you electronically recognize you in person, and help those you meet at the conference find you online. If you're active on social media, write your handle on your badge.

This year’s contest is already closed, but word to the wise – if you rank in the contest, they put it on your badge for everyone to see. Claim those bragging rights!

7. Minimize travel

Book lodging as close to the geographical center of the events as you can, which tends to be around the corner of 7th St. and Congress Ave. All official events are within walking distance of that point, so you likely won’t need a car during the day. And when you careen out of the Driskill Bar in the early hours of the morning, you’ll thank your past self for the short walk home.

8. Maximize panel benefits

Look at two things when choosing panels: what they are talking about, and who is saying it. Depending on where you are in your screenwriting journey, you may create a schedule designed to address your writing or industry blind spots. Alternatively, don’t hesitate to attend a topic that may not light you on fire, but features your screenwriting idol on the panel – you’ll take away critical advice regardless of what they plan to discuss.

[ID: A room in the Austin Club packed with screenwriters of various genders and skin tones. The room has a white ceiling, cream colored arches, and a chandelier.]

9. Bring a good notebook

You will be writing notes on your lap. This may sound overly specific, but I recommend bringing a hard cover, spiral bound notebook. Nothing is worse than four days straight of trying to write fast while the pages are closing on you or the notebook bends around your thighs, all while you’re furiously jotting down tips for taking a general meeting, what not to do when querying managers, and how to write dialogue that leaps off the page.

You can take notes on your phone, but the panelists you respect may perceive that as rude.

10. Hydrate and pack snacks

This ain’t amateur hour. We’re all adults. Long days and fun nights mean you’ve got to take care of yourself. Being your best self and maintaining a full schedule is hard if you’re hungover. Whether you indulge in alcohol or not, keep in mind that getting food can be time consuming, so be prepared with some hearty snacks that’ll keep you going in case of tight turnarounds between events.

___

Laura Kroeger is a published film writer, screenwriter, editor, and alumni of the Women in Film and Video Narrative Script Development Fellowship. You can follow her on X/Twitter at @reel_insight.

Have other questions you want answered in a blog post? Let us know at info@fourwindfilms.com. Work in film? Connect with us on Instagram or Facebook [at]FourwindFilms.

How to License Music for Movies

The cost to license music can vary from $0 to a million for a song. As a director, I prefer using music that’s already been made rather than working with a composer. There’s something special about musicians who created from their own inspiration and passion and whose music can also help my movie. Working with a composer has a time and a place, but generally, my first option is to place music and learn how much it costs, so that is what this article focuses on.

The legal side of things

I’m not a legal professional, but I’ll explain what I've learned in the simplest terms possible. 

For movies, you need two licenses to use a recorded song: 

1. The publishing rights to whoever wrote the music. 

2. The license to the recorded track. This is known as the master license or synchronization license.  

Typically, when you pay for the licensing, the cost of the publishing license and the synchronization license is equal.  Sometimes, they’re owned by the same person.  We call each of these licenses“sides.” So you have to pay for both “sides.”  

Pricing

To get an idea of pricing, consider how famous an artist or song is and whether or not they’re represented. Very few artists release songs for free, but they do exist. Kevin Macleod, who I use a lot, releases his music for free but accepts donations. The reason he releases music for free is to expose more people to his work to get composing gigs. But this is very rare.  Another way to get free music is to find a musician who loves your work and who you know intimately.  Maybe you can do an exchange.

What’s another thing to consider when you are negotiating a price? If you’re showing on television, likely the artist will suspect you have a higher budget—the same thing for feature-length movies.  

What You Need To Know Before Approaching an Artist

It’s essential to know your overall music budget and how many tracks you need to license.  Musicians rarely give a rate upfront when you ask. They always ask about your budget first, as they don’t want to say a number that is too high that may scare you off, nor do they want to say anything too low where they can’t maximize their profits for their assets.

You also need to know the length of the license.  Most artists will always suggest a license of about a year and for only one type of media.  This means you’ll have to go back to them if you want more licensing. One year is a common length, which could work for a film festival run or a commercial. This can give you time to raise more money for a more extended license because the ideal licensing length and platform you want in your contract is “worldwide and in perpetuity.”  Perpetuity means forever, and worldwide means you can use it in any format existing or to be created, though it’s wise to include those words and be specific in your contract.

Photo by Ricky Rosario on set of Frames of Reference

Who To Contact

Often the most annoying part about licensing is getting hold of the owners.  Sometimes many people own a song because they purchased parts of it, or maybe it was written and recorded by an entire band who no longer work together.  If this is the case, getting in contact with everyone can be a lot of work. Oftentimes the synchronization license is owned by the record label who may have paid for the recording, and the songwriters own the publishing rights. But it can vary, and everyone can sell the rights to their songs.

Mid-range artists sometimes charge around $500 for both sides if they’re not on a label.  But I’ve found this to be more true if I know the artist or at least have met them. If they’re a friend, I may get songs for around $100 for both sides.  

From our award-winning short drama, Prologue

As for represented artists, more people are taking the pie, and they have a middle person negotiating for them.  For example, I licensed from a lesser-known independent artist, Emika, who Ninja Tunes represented.  Ninja Tunes wanted a cut and negotiated with me for a worldwide license in perpetuity.  They argued for $2000 per side after I had already paid them $750 for the first year of theatrical release. So, in the end, I ended up paying $4000 for the song at the end of my movie Prologue.  I also paid the same amount for a more famous composer who represented himself, Goran Bregovich, for the same short movie.  Goran’s people made a deal with me because Prologue is an independent short movie, and they knew I wasn’t making money on it.

For a feature film or television show, you may be able to negotiate a royalty deal where they take less money upfront but will receive some of the profits from the movie their art is helping to create. This is generally only an option for features and content made for broadcast.

Negotiating Price

Marcellus Hall an Artist in New York City played around the world including in at Seoul Webfest.

I’m an independent filmmaker but have gotten a deal with a famous artist.  I licensed Woody Guthrie, who, if you don’t know, wrote: “This Land is Our Land” and “America the Beautiful.” He is one of the most respected American Folk composers of all time.  He is deceased, and various people own his songs, but I wanted to use a cover song performed by the artist in my documentary, Marcellus Hall an Artist in New York City.  I had a meager budget for the series–$10,000 for 31 minutes of an independent web series. But the featured artist in my documentary, Marcellus Hall, is a similar artist to Woody Guthrie, and admires him greatly. So it was important to me to use “Hard, Ain't It Hard,” which was owned by Woody’s kin. Luckily for my team and me, the owner was taken by the documentary and gave me a deal for $500 in perpetuity for the publishing rights, but this is not common.

When making feature films, a lot of these prices go up.  I’d say from a short or web series to a feature or a television show, expect a price hike of 2-4 times.

Every single contract is unique and negotiated by both sides.  It’s always wise to have options because you never know what an artist will say.  I’ve had artists who would not license their music to me after seeing my movie. They wouldn’t even give me a price.  Why? I’m not sure. They wouldn’t say. 

A common question is, what do famous artists cost?  Well, I keep my ears open.  For a news television show I worked on, we licensed the publishing rights to an early 1900’s composer’s most famous song.  We played it safe because the copyright holders are trying to make as much money as they can in the final years they have the rights to the music’s copyright.  This ended up costing $10,000.

How about Pop artists?  I’ve heard Brittany Spears’ songs go for around $20,000 for both sides, which seemed low to me.  Then I’ve heard almost everyone say The Beatles’ and Radiohead’s songs are around $1 million dollars for both sides.  

Myself (Justin Joseph Hall) playing bass for my senior photo

A mid-range price I’ve heard was $80,000 for the Grease soundtrack because the musicians (bass player, guitar player, all the singers) are all union, so many people are getting a slice of the payment. In this case, the team I was working with ended up cutting costs by licensing a song that only uses the original vocals of the cast with alternate instrumentation. This wasn’t ideal but was likely unnoticeable to the average audience member, and it saved tens of thousands of dollars in licensing fees.

Ordering more from the same artist and agency also helps you negotiate, especially from independent artists.  So try to use songs from the same artist, writer(s), or publisher. For example, it may help to take songs from the same album. Or get to know the artist by offering to share your work with them before you ask to license music. You never know; a little legwork can go a long way.

Don’t forget about your trailer!

In the past, I’ve been successful at asking to include publicity and advertisement use when I’m licensing an entire album or multiple songs from an artist. If you have a lower budget, is there a band that’s not as known or a singer who wants to get a song to a broader audience?  They may be willing to let you also license for publicity and advertising.  

 If you have any questions, please contact us at info@fourwindfilms.com  We’re happy to answer a few of your questions or work at licensing music for you for hire.

Copy Editor - Piper Werle

Create a Mood With Your Playlist By Treating It Like a Menu

A sensory approach to making a killer playlist or soundtrack.

By Jane E. Werle

Create or Share a Mood

Have you ever had a very specific craving? Pork rinds, peanut butter pretzels, pimento cheese, pizza bagels, parmesan crisps, potato chips — whatever it is, that’s the only thing that will do. Because fulfilling what you are in the mood for can be greatly satisfying.

Setting the right mood for your event, film, or video, is critical to its success. So when creating your playlist or soundtrack, consider whether you are trying to express a mood that you are experiencing, or creating a mood you wish others to experience. Then think about food. Then think beyond snack food. Imagine your playlist is a dinner party menu.

Structure Your Playlist like a Menu

Your menu consists of the main course (pulled pork, mango-chickpea curry), an appetizer (Caprese bites, vegan seven-layer dip), side dishes (grilled asparagus, Chex mix, fresh bread), dessert (chocolate avocado raspberry pie, coconut chips), and a surprise or treat (sparkling wine, bacon-wrapped dates).

Your main course is your theme. It might not be your favorite food, but it appeals to (or can be eaten by) most of the folks in your dinner party, and it is both delicious and kitchen-tested.

Your appetizer is the first thing people get to taste, and plays well with your main dish, but has a different feel and level of accessibility. Whether you are facilitating an evening of good food your guests didn’t have to cook, or an experience they couldn’t have on their own, you want them to participate and to enjoy doing so. The appetizer is your opening play and sets you all out on a particular path. (Note that I am focusing on providing a desirable experience, but this idea could be extended in other emotional directions such as fear [SCOBY finger food] or self-examination [plain-flavored popsicles]).

Your side dishes either do something your main dish can’t, or expand on its effects in order to provide a more well-rounded menu. Dessert is for scratching that itch that nothing else yet has, and the surprise is for fun.

Pick Your Tracks

Enter into your planning with a sense of zest. There are so many possibilities, and you get to curate them for your pleasure and that of your friends/audience. What do you look forward to hearing? What songs are new to your “liked” list? Do you have a go-to artist or track? What track has a section that stirs you? What else sounds like that?

Once you have something in mind, you can think about what purpose it serves, or what vibe it encourages. Is this a main dish (thematically strong enough to carry the mood)? A juicy surprise (no one but you would have picked that song next!)? The way you want to start the evening (an appetizer that is a crowd hit)? The way you want to end it (a dessert to linger on the palate)?

Then consider the roles you have yet to fill, and how they relate to each other. When you think of (or hear) one element, what feels like it should come next? If someone were making or playing this for you, what would you expect to eat or hear after it?

If your mind remains blank and your planning is going nowhere, think about your friends (or audience) and what they like. If you were their short-order cook (or deejay), what would they request?

Perhaps you have the opposite problem, and your list of possibilities is too long. Try going back to where you started, that first thing you felt sure about, and examine your list for what fits the very best.

Enjoy!

The very best fit could be what is most exciting, or most challenging, or most familiar. Try things on-- listen to them together. Alternatively, you can look at what you’ve assembled and divide it into sections (part one is uptempo, part two is downtempo) of an ongoing series of amazement, designed by you. You decide, it’s your party.

You may find Jane E. Werle stomping in a rainstorm or starting a dance party, if she’s not writing and editing for nonprofits or advocating for kids. Colorado-based, Jane prefers naps to marathons but is happy to go backpacking or sit in a creek. Jane received her MFA from Naropa University and is a frequent contributor to Presenting Denver, a comprehensive resource for dance in Denver and along the Front Range.

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com, or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

10 Great Queer Films to Add to Your Watchlist

By Danielle Earle

It's that time of the year again. Pride Month — a celebration of unity, self-love, identity, and all things Queer — is coming to a close. 

But just because Pride is ending doesn’t mean that we should hit pause on celebrating the LGBTQIA+ community, so I put together a list of ten of my favorite Queer films to watch throughout the year. Whether you are part of the Queer community or want to become a better ally by watching more of the countless stories outside of the heteronormative experience, this list is for you.

Photo by Nate Isaac on Unsplash.

1. Watermelon Woman (1996) Directed and written by indie veteran Cheryl Dunye, starring herself, Guinevere Turner, and Valarie Walker. It’s considered the first feature film written and directed by a black lesbian. How cool is that? Watermelon Woman tells the story of a queer video store clerk / aspiring documentary director who is working on her passion project about a Black actress in the 1930s known for playing stereotypical “mammy” roles. If you are looking for some light humor and romance in documentary style, definitely check out this film. 

Currently streaming on Fandor, Showtime, Fandor Amazon Channel, Showtime Amazon Channel, fuboTV, DIRECTV, OVID, and Kanopy, which you may be able to use for free using your library card, or if you are a student or professor. 

2. Holding the Man (2015) Directed by Neil Armfield, starring Ryan Corr, Craig Stott, Anthony LaPaglia, Guy Pearce, Geoffrey Rush, Kerry Fox, and Sarah Snook. This movie has it all, and it’s shocking that it was never nominated for an Oscar. It’s Love Story meets The Way We Were. It’s a heartfelt, emotional rollercoaster of a feature film. It’s based on actor Timothy Conigrave’s bestselling memoir “Holding the Man,” about an intimate relationship with his longtime lover and companion John Caleo, which spanned 15 years during the AIDS epidemic. You’re going to need a lot of tissues to get through this movie. 

Currently streaming on Netflix and realeyz. Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, and YouTube. 

3. Six Dance Lessons in Six Weeks (2014) Based on a play by Richard Alfieri, directed by    Arthur Allan Seidelman, starring Gena Rowlands, Cheyenne Jackson, Julian Sands, Jacki Weaver, Rita Moreno. It’s a comedy-drama set in South Florida about an older woman who hires a dance instructor to give her private dance lessons at her condo. What begins as a work relationship disaster between Lily (Gena Rowlands) and Michael (Cheyenne Jackson), slowly turns as the art of dancing sways them closer together as friends. The story quickly takes a turn where we discover that both hold a secret. I highly recommend this cute LGBTQ+ comedy for you if you’re in need of a quick pick-me-up. 

Currently streaming on Amazon Prime Video or for free with ads on The Roku Channel, and VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube online and to download it on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube.

4. Stage Mother (2020) Written and directed by Thom Fitzgerald, starring Jacki Weaver, Adrian Grenier, Lucy Liu, Mya Taylor, Anthony Skordi, and Allister MacDonald. This film was everything to me. It is definitely a relatable story for chosen mothers and their loved ones. In the queer community, the bonds of chosen families are so unique and heartwarming. After a Texas church choir director inherits her son’s drag queen Club in San Francisco, she is faced with her son’s past — his life’s work as a drag performer. She eventually forms a tight bond with his chosen family who was by his side at the time of his death. 

What I love about this film is it features Black trans visibility in the drag world, and the beautiful oil and water relationship between Nathan (Adrian Grenier) and Maybelline (Jacki Weaver), as well as the unexpected love triangle between Maybelline, August (Anthony Skordi) and Jeb (Hugh Thompson). If you are looking for a nice, mellow fun comedy to watch, check out “Stage Mother.” 

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand.

5.  I Love You Both (2017) Written and directed by Doug Archibald, it tells the story of Krystal (Kristin Archibald) and her twin brother / gay roommate Donny (Doug Archibald). Their friendship eventually takes a downward spiral as they fall in love with the same man, Andy (Lucas Neff). This film is brilliant because I haven’t really seen anything like it since The Object of My Affection starring Jennifer Aniston and Paul Rudd. “I Love You Both,” is not your traditional love story. Actress Kristin Archibald is hilarious and I’m surprised that this was her first acting role in a motion picture. I can’t wait to see what she does next. The theme of the movie kind of reminds me of the line from When Harry Met Sally about how men and women can never be friends, as the same phrase can be applied to members of the LGBTQ+ community and straight people. Sometimes love stories may not have a happy ending but they do have a new beginning, and this film captures the beauty of it all and for all audiences to relate to. Doug Archibald did a fabulous job directing this indie flick. Oftentimes, gay men and lesbian characters are cast as the gay best friend, without the onscreen romance or leading role. It’s great that he created something for everyone, expressing gender fluidity as the norm. The way that it should always be. 

Currently streaming on Amazon Prime Video, Hoopla, or for free with ads on Tubi TV, VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube, Redbox, FlixFling online.

6.  Pariah (2011) Written and directed by Dee Rees, starring Adepero Oduye, Aasha Davis, Kim Wayans, and Pernell Walker. The film is about a closested lesbian teen who goes through hurtles toward self-love and self-discovery. It’s a heartbreaking film that I feel is important for everyone to watch. It’s a story that I’ve rarely seen told, where the Black lesbian character is the main focus in the film, as well as showing a love story between two black queer women, without it being stereotypical. I really appreciated the fact that Rees created characters that show the LGBTQ+ community in its truest form. Rees created a world of her own, but through a lens that is universal that people of many different experiences can relate to. Kim Wayans plays a religious mother who eventually comes to grips with accepting her daughter's sexuality. The film also sheds light on the pain and oppression that our POC LGBTQ+ youth go through every day. Not only are they often rejected by some religious organizations, but they also deal with homophobia. The concept and plot of Pariah deserve a lot more praise than it has gotten. If you are looking for a groundbreaking drama and coming-of-age story, definitely watch Pariah.

Currently streaming on Netflix. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or DIRECTV.

7. Ahead of the Curve (2020) This is an amazing documentary about the rise and fall of the #1 bestselling lesbian magazine, directed by Jen Rainin and Rivkah Beth Medow. I remember living in San Francisco as an Academy of Art student, ordering my latest copy of Curve Magazine and reading it in my dorm room. Magazines were my escape as a young adult at the time, before the driving force of the digital world. This film is a beautiful tribute to magazine owner Frances “Franco” Stevens, a woman who was forced out of her home after coming out as a lesbian, and later launched an empire for all queer women. 

Currently streaming on Starz, and Starz Play Amazon Channel. Possible to buy or rent "Ahead of the Curve" on Apple iTunes, Google Play Movies, Vudu, Amazon Video, FandangoNOW, or YouTube.

 8. Giant Little Ones (2018) Written and directed by Keith Behrman, starring Josh Wiggins, Darren Mann, Kyle MacLachlan, Taylor Hickson, Maria Bello, and Peter Outerbridge. Giant Little One tells the story of two high school friends who experience one night of passion that shifts their lives forever, leading them to sexual discovery. Actress Maria Bello was the highlight for me for obvious reasons, because she is so talented and underrated. She plays the hip mother of Josh Wiggins’ character, Darren. I’ve loved Maria since watching The Sisters (2015).

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV.  Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or AMC on Demand.

9.  A Fantastic Woman (2017) is directed by Sebastián Lelio, and stars Daniela Vega, Francisco Reyes, and Luis Gnecco. It tells the story of Marina, a transgender waitress, and singer, who is grieving after the death of her lover Orlando (Francisco Reyes). The cinematography in this film is breathtaking as well as the performances by Daniela Vega and Trinidad González. It’s an important film for the LGBTQ+ community and allies to watch. 

Possible to buy on Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand as download or rent it on Google Play Movies, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand online.

10. The Death and Life of Marsha P. Johnson (2017) I wanted to save the best for last. This documentary is directed by David France and stars Victoria Cruz. It’s about an ongoing investigation of the mysterious death of one of the leading Stonewall activists, the legendary Marsha P. Johnson. 

This documentary will literally have you at the edge of your seat. It’s a murder mystery where you find yourself torn apart by the injustice and police brutality against the trans Community. The doc also captures the ongoing divide between trans women and the Gay community and the lack of acknowledgment that the founders of the Queer Liberation Movement were trans women of color. It’s a documentary that sheds light on the resolution that we have a lot more work to do in 2021.

Currently streaming on Netflix. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Why I Make Art: A Personal Manifesto

By Justin Joseph Hall

“Artist” is such a vague term I usually don’t like to use it. Maybe that’s also an aversion I have from growing up in the Midwest where artists are often scorned or mocked as high-society.  First of all, an artist has nothing to do with class or the amount of formal education someone has.  My definition of making meaningful art is perfecting details of a piece of artwork.  This means putting in the time to place every detail in the way that is “perfect” to the artist, and the artist alone.  A skeptic may say that certain steps in the creative process are not important, but anything that leads me to a better way to communicate or express through the language of my art clearly is important to what we call the artist’s process.

To me, an artist is someone who can speak towards a subject in a new light using context and setting. They can express complex or emotional ideas through their individual medium because they are often difficult to express with language in general conversation.  By speaking through a medium, I am able to release what I want to say in a different context that I define as an artist. 

Creating an artwork is a form of communication that can be larger than daily dialogue.  It brings people together to have an emotional experience that the artwork evokes within the audience.  The individual audience members can take an emotional cue from the artwork based off their own life experience.

Freedom - Photo by Justin Joseph Hall

When I am creating artwork such as a film, if I am not precise in my decisions then the artwork runs the risk of saying nothing.  Or worse, saying something with an unintended impact.

The creation of great art is an understanding between many human beings as another form of language.  It is developing a unique language through an artist’s process for ideas and emotions that words cannot express.

I’m not advocating that every detail in every piece of art is planned. It is not.  Some of the variability is actually controlling what is random.  Just take Jackson Pollock.  He used gravity and physics of splashing paint part of his expression because he thought it was meaningful.  He controlled how the paint was flung, but the tiny details he left to physics.  Jackson Pollock let us see physics in a new way expressed through paint.

Now I’m not a painter, I am a director.  How does this variability apply to directors?  Often, as a director, the medium we help deliver our story and our message is through actors and crew.  These people are usually very intelligent and skilled.  I like to give the people I’m working with room to express what they believe the story is and be open to their interpretations.  This way I’m guiding a cinematographer or an actress in a direction with boundaries.   In this way, like Pollock gave freedom to the paint falling by releasing it at a certain point in the air, a director has many opportunities for a creative team to be released into their work in an organized manner.

The details of the world an artist creates is important, and so is being specific about which details to focus on.  One of my biggest lessons was a mistake I made editing a short comedy.  I left a lot of jokes in a scene because I thought the actor was hilarious.  However, I left in too much of his individual performance and didn’t pay attention to the flow of the story.  There are so many jokes in a row that the audience only laughs at half of them.  On top of that, they laugh over some of the jokes. This is distracting and makes the film feel too long.  Because I left in too much material it made the movie worse even though I consider the material I left in as great.

This can happen in any genre. For example a horror movie can make the mistake of not leaving silent time for sound design and music that is integral to scare people. In a documentary, a mistake would be packing in too many facts without giving the audience time to process.

These details are hard to spot and take time and practice to notice.  One has to change their mindset from minute details such as the individual edit, to a larger detail of the big picture of the story.  This idea is applied to film here, but can be applied to other mediums. Imagine making the fingertips perfect on the Venus de Milo and in the end realizing the statue is better without any of the arms or hands.  Or recording a 2 minute amazing guitar solo but having to cut it out because it doesn’t add to the melancholy feeling you are trying to express in the rest of the song.

It’s important not to compromise on the core expression of artwork over small details; but that doesn’t mean an artist can’t collaborate.  Just as McCartney and Lennon collaborated with each other, they had disputes, but they found how to focus on what’s important to each individual artist.  It is important to work with other artists who don’t compromise the main expression in one’s art.  Sometimes it takes time to find what you are trying to express, but the best collaborations help enhance the communication at the core of the artwork.

Brooklyn in Manhattan - Photo by Justin Joseph Hall

It’s important to work with people who do not impede your message. Don’t compromise with those who pay you to create to sacrifice what you believe in.  If you do, you are compromised as an artist as long as you participate in suppressing your beliefs in exchange for money.  I think this is important to keep in mind.  If you care more about money, no worries, then you are a commercial technician for someone else, which is totally fine and respectable in itself, but it is not creating art.

Money is always an important consideration and you need to pay the bills, but I’d suggest if a collaboration isn’t helping you become better at expressing what you want to express, you will be replaceable because you’re not refining what is of value for you.  So if you have to take a job that doesn’t go along with your ideals due to money conflicts, make sure you’re being more adequately compensated for your time so you can have enough money to work towards not needing to make that kind of compromise in the future.

I could not find a job for about 2 years and only found part-time work for 5 years in a row in the field I wanted to be in: editing film.  But I held to my ideals of quality and preservation for the future when finishing films.  Everyone told me over and over the quality didn’t matter and no one cares, but I did.  I took the time to make everything right and you know who cared in the end?  Companies who were making incredible films, HBO, PBS, and so many other networks.  Taking the time to perfect my personal workflow was worthwhile.

For example, I believe in diversity of perspectives in problem solving as well as preserving our environment.  I had to be honest in an interview when applying for a documentary that had to do with bringing a power plant to a nearby neighborhood.  The project ended up being a propaganda piece and it would not have been helpful to me or anyone if I took that job for the money.  Instead, I honed in on my craft and I began working with Downtown Community Television, a documentary company that believes in diversity and social change.  We’re a great match, but it took time to find a collaborator that didn’t conflict with my core beliefs in my work. 

The final touches in a project make it meaningful.  Those final touches are sometimes the hardest part of a project to finish. For example, whenever I edit a scene I work on individual cuts 10-50 times in an edit if I’m trying to make a difficult cut smooth.  This is so I watch each frame and scene enough to process how everything emotionally relates to one another.  This is important because emotions are fluid and in storytelling, we often take the audience for an emotional ride, but that means gradual changes.  Small distractions can take you out of that emotional ride and bring you back into reality.  An example could be a hand that’s out of place in one shot to the next, or blinking eyes not matching within a scene.  Adjusting these tiny details on each and every cut makes sure the audience is not distracted by something being “off” that takes them away from the story.

This may not pay off in the short term, but in my experience, concentrating on my own voice, uniqueness and expression paid off in the long run.  Because now I have concrete examples of expression that is unique to me and my style.  This enabled me to offer that skill to anyone that I work for and has found me more collaborators to work with and create final products that make me proud to be an artist.

Security - Models Isabel Restrepo & Lauren Thompson, photo by Justin Joseph Hall

Finding Your Voice as a Woman of Color Producer in the Film Industry

By Danielle Earle

Photo by Kelly Fournier on Unsplash.

Finding my voice as a Black woman in the film industry was a challenge for me. Experiencing prejudgement in a sea of white creatives was the last thing I expected, but that was the reality. 

Trust Your Vision and Create Your Own Opportunities

I continue to strive for a seat at the table. At times, the sea of white creatives assumes that having a seat at the table for a person of color means serving, volunteering without a sense of self-worth. So, what do we do? What do we do as black actresses, directors, and writers? How do we find acceptance? We form our own opportunities. We learn to value self-worth and continue to fight back with a shield placed against our hearts. That shield is a vision that holds clear in our minds which is our superpower. 

In 2010, at the age of 26, was when I finally found a sense of self-value. I knew I wasn’t meant for corporate America, and the Arts were the only place that I could call home. 

For years I never felt my voice was worthy for art, for love, or anything for that matter. Films were my escape, my adventure to the unknown. Ten years later my voice became stronger and I created my film production company PL Entertainment LLC.

There were not many filmmakers that looked like me, nor were they the same gender. The majority of them were white males who were getting the financing and support. For Black women, finding the resources back then was slim to none.

Don’t Let Yourself Be Stereotyped

I remember going out to events and explaining about my little, no budget series, Brooklyn Is In Love and having a response from a white creative who said, “This series will never get noticed. This is not what people are looking for.”  A Black male creative said, “You need more diversity.” 

When I produced my first LGBTQ Feature film,  I got criticism from several members of the white LGBTQ community who said that it was ironic I had white actors in my film.  I felt judged rather than celebrated as if it was taboo as a Black writer to write white characters. As if women of color (WOC) within the LGBTQ community are not equipped to create queer content for white America. Or there’s a sense of surprise that my work doesn’t fit under the landscape of the general stereotype for Black women in the gay community. That there’s no way I’ve lived similar experiences as them.

When I produced Brooklyn Is In Love in 2011, New York was a dead town. Post Grads were sleeping on the streets of Manhattan with no job and no security blanket. Artists were struggling to save enough for rent the next month. In the midst of it all, I was in the center. Watching it unfold, behind a lens. 

So I decided to make art from crisis to give us a sense of hope. Since the launch of episode 1, the view count exploded. I was getting emails and comments online, praising the show. At first, it was like lighting a match in the dark and waiting for a spark. The spark happened and that’s when it became real. 

You’re in a position as a woman of color producer, whether you are queer or straight. You have to continue to prove yourself. When I entered the doors and signed my first contract at the Guild after the success of the series, it made me realize that this was my new journey. 

Collaboration is Key

Photo by Christina @ wocintechchat.com on Unsplash.

The best way I found to do it is by creating the platform yourself, and navigating a maze of possibilities. Yes, there are roadblocks, but there are ways around it. Collaborating is the answer. 

At 26, I was a very stubborn late bloomer. Over the years, I learned to find my community of people that valued my self-worth through financing, support, guidance, and collaboration. Collaboration and networking are key to a continuous road of achievement. 

Another tip for finding your voice is to always keep an open mind when collaborating. There will be times when the idea may change or shift. Don’t be afraid to speak up to your team. Yes, as Producers we strive to stay relevant. We need it. We crave it, and it’s totally natural, but don’t let it take you over. Invite people into your heart and creative world, because that is the only way you will grow. 

Remember there are so many writers looking for an opportunity, and they need a good producer like you to help them get their work seen. It’s about passing the torch. Once you reach a level of acceptance, it’s the greatest gift in the world as a creative. 

Know Your Worth In Dollar Signs!

When you are negotiating a contract, whether it is as a producer, director, or writer, don’t be afraid to tell them your self-worth in dollar signs. Black women in the industry have always had to settle for less, and in 2021, it is finally a year of celebration for Black Art. If it doesn’t go in your favor, there is always another opportunity waiting for you.

WOC Producers, continue to show your worth to the world, and never be afraid to show your bright light. It’s never too bright because you are the reason for the change, for the progress, and for the next generation of WOC Producers everywhere. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

The Kids are in the Picture, Part 2: Production

Tips for working with children on set

By Elizabeth Chatelain

This is the second article in a 2-part series about working with child actors. If you haven’t read the first part yet, read it here. 

Rehearsals

Serenity Gress (Jenny) and Elizabeth Chatelain (Writer/Director) on the set of Sundogs (Photo Credit: Caitlin Prentke).

 So now you have decided which kids you are going to be working with. The next step is rehearsals and production. In the first rehearsals, I am really just trying to make the child comfortable around me, to trust me. I usually invite the parents at least to this first rehearsal. We talk about what the child likes in school, their family, etc. And I share that about myself with them. I also ask them how they would describe their character, so we are on the same page. In Paper Geese, I introduced Payson, who played the lead character Rowan, to the geese we would be using in the film. They were in my mom’s backyard. Payson immediately responded to them and became more confident in her interactions with me.

Payson Jane (Rowan), Elizabeth Chatelain (Writer/Director), Alejandro Mejía (Cinematographer) on Paper Geese (Photo Credit: Taylor Thompson).

 Depending on the child actor’s age, I will also play some acting games with them to start. As in the audition, I encourage them to use their imagination to act out a number of different scenarios. If they are old enough (about 8-9 and older) we will also go through the lines on the second rehearsal. We’ll talk about what the character in the story is feeling from scene to scene.

 Emotionally mature kids will be able to read the subtext of what is going on in a scene between characters with a little guidance. When I worked on Jenny and Steph in rehearsals, all three of the girls in the main roles grasped this almost immediately. Jenny was twelve, Steph was fourteen and Rose was fifteen. I had them act out the scene using subtext for their lines instead of what was written. And I was shocked that they did it with such ease. They had a profound understanding of what the characters wanted from one another. I find that having at least three or so rehearsals with actors, especially children, is fundamental, unless working with a small child. Again, the goal is to get them comfortable with you, because once all the people and lights are up, it has the potential of being intimidating. That’s another reason why I usually limit the crew to a small number. That way it is more comfortable for the kids.

Kathryn Kingsley (Mother), Elizabeth Chatelain (Writer/Director), Hudson Kingsley (David) Payson Jane (Rowan) on Paper Geese (Photo credit: Taylor Thompson).

 Working with Children 7 and Younger

 When working with my niece, Serenity, who was about four years old at the time, her mother was always in the scene with her (this was a mother/daughter story). She also knew me quite well already. This created a safe space for her. We didn’t do any rehearsals with Serenity before shooting Sundogs, because in her case, it was better that she didn’t think too much about what is going on from one scene to the next. It was best to keep her present and fresh. As a four-year-old, you hit your limit of takes pretty quickly, and in general, the first couple takes are usually the best. I would say this is also true when working with non-professional actors; in later takes they grow more self-conscious, which leads to a feeling of inauthenticity. 

Kathryn Kingsley (Mother), Elizabeth Chatelain (Writer/Director), Hudson Kingsley (David) Payson Jane (Rowan) on Paper Geese (Photo credit: Taylor Thompson).

Compliant Scheduling

The other thing to take into consideration when working with children in films is the time restraints that you have, especially if the production is SAG. You also have to research the child labor laws, which differ from state to state. This is another deterrent that makes filmmakers wary of working with children. Kids can only work a certain number of hours, dependent on age, and if you are shooting during the school year, you must provide them with a tutor. Short films can work with this a little bit more easily – shooting on vacations or during the summer, allotting 5-6 days instead of 3. I found this has also been easier on the crew, even if you have to pay a little more for lodging and meals. Everyone feels more rested and less stressed. Children can easily detect a negative vibe, so you want everyone to be in a good mood if possible.

Payson Jane (Rowan) on Paper Geese, (Photo Credit: Taylor Thompson).

 Effective Communication

 The last thing I’ll mention is the filmmaker’s communication with the kids on set. You never want them to feel like they are doing another take because they “screwed up” or this will lead to more anxiety and less authentic performances. Make sure to say something positive after every take and give them direction that is just a little “different” rather than “right.” Encourage them as much as you can. Acting is already full of rejection so you want them to know they are doing a great job, which they most likely are. They want to do well as much as you want them to do well. So make sure to communicate with them after every take. The big takeaway here is that in order to have the best performances from kids, make the set a comfortable and safe place in which they feel nurtured and appreciated. They are just as important as anyone on set.

Elizabeth Chatelain is an award-winning writer and director from North Dakota. Her feature screenplay SUNDOGS participated in the Berlinale Script Station, the Hedgebrook Screenwriter’s Lab, and was an Academy Nicholl Fellowship Semi-Finalist, Atlanta Film Festival Screenplay Competition Winner, and Showtime Tony Cox Screenplay Competition Winner. Follow Elizabeth on Instagram @emchatelain and at her website, elizabethchatelain.com.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Meredith Alloway on Staying Motivated as a Writer, Genre Filmmaking, and Making Your First Films

Interview by Piper Werle

Photo by Victoria Stevens.

Meredith Alloway is a multi-hyphenate badass. Recent milestones in her career include screening her short film Deep Tissue at festivals all over the world including SXSW, directing a Paris Jackson music video, and partnering with Hulu, Sundance Institute, and 20th Century Digital Studios on her last two short films. Her feature film High Priestess is in development with Phantom Four, David S. Goyer’s company.

For years Meredith worked as a film journalist while building her career as a screenwriter, director, actor, and producer, but these days she’s focused on filmmaking. She offers much-needed transparency about breaking into the industry, funding your first (and second) project, and finding your voice. Meredith is also a huge horror film buff and offers insight into genre filmmaking, and how some of her favorite filmmakers defy existing genres by creating their own.

A promo image for First Date, a short film released as part of Hulu’s “Bite Sized Halloween,” written by Allyson Morgan, directed by Meredith Alloway, starring Hari Nef and Kara Young (pictured above). Photo by Victoria Stevens.

Fourwind Films: So you are a screenwriter/director/actor, and producer. Do you see benefits in being a “slashie”?

Meredith Alloway: Yeah, I think so. There was a time in my 20s where I felt like I was like a jack of all trades, master of none. And now that I’m in my 30s, I’ve seen the ways that being involved in a number of different things has sort of fed the ultimate goal, which is to make movies. To direct them, but also write them. I think also, as a woman, there is this phase. When I was transitioning from being a journalist to a filmmaker, I remember another woman, actually, asked me “how are you going to do that?” In a way that — she wasn’t meaning to be condescending. But I was like, what do you mean?! Like, do you know how many men are jacks of all trades and masters of all? You’d never ask Donald Glover like, “um you’re going to make music now and then you’re going to act? How are you going to do that?” And that was like three years ago before Deep Tissue had gone and done SXSW and been on the festival circuit so I was still doubting a little bit. And I had only made one movie and I was like, oh no. And then I said, you know what? I can do it all. Like I think it’s really just aligning in and seeking your bliss and following the things that you love. Even going to theater school, you know, we joke that having a BFA is just like a piece of paper, who cares. But there have been so many times where even working on this latest pitch I can say, oh, this is the Medea story. Because you forget how many of these plays and literature have influenced storytelling. If I hadn’t spent so much time in theater school studying playwrights, I wouldn’t know about those archetypes that I learned through osmosis of doing plays and reading them. And I think it’s influenced me as a writer. 

So I think having your hand in a little bit of everything feeds anything you’re doing. 

And I think even with producing, it’s great to have done that because now I feel like I know what producing is and how to hire other people, even if I’m not the producer on the job. I don’t think I’m necessarily a great producer and I don’t have a ton of experience. But even dabbling in certain areas, now I’m like, oh, I have so much more respect for people that do that and have a better sort of way and perspective when hiring the people around me.

"Let Down" performed by Paris Jackson. Available now: https://ParisJackson.lnk.to/LetDownVD ►Subscribe for more official content from Paris Jackson: https://...

FF: Yeah, I love what you said about how at some point, the goal is just to make the movie, and sometimes, especially when you’re starting out, you just have to play more than one role.

MA: You have to. You have to. Well I mean, even with my short, Deep Tissue, I was in it. That was mainly because I was like, I’m an actor, I think I’m the best person for the job. And it’s one less person to cast, you know? Not that I don’t think I could have found someone that would have done a good job, but what was so cool about that film was it was such a collaborative process with my two producers, one of whom was also my editor, and the other one, she had gone to theater school. So she and I went through the acting beats and she was on set helping with that. And, you know, my DP, Justin Hamilton, I work with a lot, he and I went to high school together, which has been cool working together as adults. He was a year older than me and he was like the movie guy and there’s a lot of trust there. And he’s also an editor and thinks like a director in his own right. So being multi-hyphenate and then hiring people around you that are multi-hyphenate, you just see that it’s incredible to work that way.

Funding and Making Films As a Rookie

FF: OK, so for a director slash writer starting out, it can be super overwhelming when figuring out what road map to take. But it seems like the general path is to make a short film, and then go to festivals or put that film out there in some other way to either get representation or make a feature. From your perspective of having interviewed so many people, and from your own experience, do you see that as the best path? Or do you see other options that you think people should consider?

MA: That’s a good point to bring up because I do think that the narrative of “make short then make feature,” and like, “making a genius short is the only way to go” is reductive and limiting for people that don’t come from the means to be able to fund a short. I mean, for me, journalism was a huge path because it was like an education in film in a lot of ways. And also, I took a while before I made a short, and I think it was a number of things. I didn’t financially know how to raise money. It was before Kickstarter and Indiegogo were big because I moved to L.A. and graduated theater school in 2011. I wanted to learn screenwriting but I’d just graduated and didn’t have the money to pay for a course. So I started writing at a screenwriting website and through the process of journalism was learning about writing and interviewing people. You know, like this. 

I also think that the big thing is to find out what story you want to tell. Taking a step back and going, what are the stories I want to tell? What is my voice? And first, through any means possible, find a way to figure out what your voice says. 

Write every day if you can or as frequently as you can. I think that’s really important. And, you know, through being a journalist, that was something that allowed me to meet the people to even make the first short or to make anything because it can be really hard. And it depends on the type of filmmaker you are. If you’re a documentary filmmaker, you can pick up a camera. OK, so you need to go buy the camera, you know? So it’s like you work and not everybody wants to make something for no money. For my first short, I knew what I wanted to write and I knew I needed money. But I think that there are other ways. 

I think it’s starting with: what is the story I want to tell, spending the time where you’re saving money or you’re meeting your community, and then really letting the story tell you the path it needs to take. 

What is the story you want to tell? Because that’s going to define who you are as an artist. But I do have other friends who are DP’s or they’re other things — like my friend Josh, who’s an editor now and makes films, but he would volunteer at film festivals and started being involved in other people’s projects as a PA (Production Assistant). I do think that if you’re a writer/director and you’re producing someone else’s thing or you’re a crew member, and that film does well, that also gives you a leg up. I think that there are many roads to Mecca and making a short is great because it’s, you know, practice to make a feature. But I also know people that just write and then they keep getting better at writing. And then those scripts get made. And then someone’s like, do you want to direct one? I think there are many different paths. But definitely, the short to feature is, you know, a tried and true way to go about doing it.

FF: Speaking of fundraising, that’s obviously such a big hurdle to get over for your first, or even second, maybe even third film. Especially when you’re first starting out. I know you’ve crowdfunded for your first film and that was successful. Would you recommend crowdfunding, and again, are there other options you think beginning filmmakers could consider?

MA: Yeah, crowdfunding was great. To be honest, I didn’t know if I wanted to do it because then you’re accountable. Like, people give you money and then you have to make it, which is very scary. And that was the thing that actually then in turn convinced me to do it. So one of my friends is a publicist for Kickstarter, David Ninh, and we had this phone call. He was like, “doing a Kickstarter puts it out into the world that you are a filmmaker now. You know, people know you as a journalist but you’re also a filmmaker and it’s good to be held accountable.” And the cool thing about Kickstarter is if you don’t raise the full price you don’t get the money. There’s GoFundMe and others where maybe you’re trying to raise ten grand and even if you raise seven hundred, you keep seven hundred. But I was like, you know what, let’s go for this, shoot for the stars. And I wanted to raise ten grand. We ended up raising I think twelve, which is good because I wanted to raise a little bit more because they took a fee. And you build a community for your film before it even comes out. So I highly recommend that. It’s work. I think you’ve got to be willing to put in a lot of work. And the work is fun in a way because it helps you start thinking about the branding of your film, and helps you really focus on what the story is and why you’re making it in the first place. We shot a little video for it with my cast because they were in New York and we had become friends because I was trying forever to get this made. So we’d become friends in the process of waiting to get it made. And then I was like, how do I talk about this film? My brother helped me design a logo and I printed them on stickers and we launched the Kickstarter at Sundance. So I was handing people stickers and I would hand them to guys and say, “put them on bathroom doors”, you know, and two or three years later, I was on a panel or doing something and some woman was like, “I know who you are and I know about your movie.” And I said, how? And she was like, “I just remember the branding. I had the wings, what was it called?” And I said, Oh, my God, Interior Teresa. 

So, you know, it goes a long way to help you learn to brand and to really hone what the story is. And then you’ve got a built-in community of donors even before the movie comes out. But it’s hard and it takes work and it’s hard to ask people for money. 

But if you want to make movies, you got to learn how to ask people for money. That is the most important thing I’ll probably say in the interview, which sucks, but you got to learn. 

OK, so then my second film I got a full-time job in New York, which I’m very grateful for. And saved a lot of money. And it was hard because I was working really long hours and then trying to do journalism on the side and get a movie made on the side. But I just kept saving and it took years to save the money. But then that’s how I at least got the start to fund my next movie, and then had somebody else who had been a friend for a long time give us a little bit of money. But it really goes a long way if you’re like, “Hey, I’ve got thirteen thousand dollars.” And someone says, “Okay, well, let me come in and give you a few more grand,” than going, “I have no money,” and someone going, “let me give you a few grand,” because their few grand might not go anywhere because you don’t even have the leg up to start on. And even when you’re doing a Kickstarter, having someone, someone, even if it’s you, throwing a little money to jump start it, you know what I mean? Which I don’t know if I did for the Kickstarter, I think maybe my mom put in like three hundred dollars, you know, or something, which was nice and which was a lot for her. But anyway. I think that saving is really important, and I think that there is this feeling that we have to do it now and we’re running late, and I know I struggle with that a lot. I’m like, “oh my God, I haven’t made a feature yet.” I think I’ve kind of moved past that and kind of accepted as I’ve gotten older that everything happens when it’s supposed to happen. But I think when I was younger, in my 20s, I was like, I’m so behind. And then I just was like, well, I wanted to make my second film on my own terms. I did not want to talk about it in the open like you do with the Kickstarter. I wanted it to be private. And so then I was like, well, it might be a while before I can make that. I’m just going to have to work and save the money. 

But even if it takes you five years to save up the money to do it yourself, fine. You know, like there’s no need to rush. And then there’s just, like, amazing grant programs that can get you that leg up, especially in New York and Los Angeles-based companies, or even in Texas. There’s more and more support for marginalized people as well. And women grant programs. Again, it takes time and effort to write and apply to these things.

TIP: Check out Jamie Monahan’s article “Secrets of Successful Fundraising for Filmmaking” and Cindy Chu’s article, “WOC Filmmakers: Resources for Making Connections” for more fundraising and networking guidance!

You know, there’s Sundance Institute and stuff like that if you’re trying to get money and don’t have family and friends that are just sitting on a ton of cash, you know like some people have. And that’s really great for them. But if you don’t, you can get a stamp of approval from a grant or another institute, even if it’s a thousand dollars. Again, it gives you that jumpstart. Yeah. I mean, I could go on and on about different ways to find money. But, you know, I’m still learning. I’m not a genius producer. And those are the people that know where to get the money.

FF: I mean, that’s a great point. Like maybe you need to find a producer.

MA: Yeah, especially when you get into feature land. I think with shorts, finding producers is hard. I always have friends who are like “where do you find your producers?” Or “I’m looking for a producer.” For shorts, I think it’s hard to find a producer that’s going to find you money. Most of the time it’s like, “I want to support your project.” My first short, my friend Catherine, who’s also a filmmaker, produced it, and just having that support there to do logistics, and offer her creative brain, was great. And, you know, sometimes you can find producers that have resources that are going to bring money to shorts. But I think producers that are going to bring money are when you get in the feature game because they have the relationships with the investors. I’m just trying to think of specific examples. But this is the thing, I know about where people find money, but also that’s private and it’s a hard thing to talk about. I find in interviews when I’ve interviewed people, too, it’s like, where did you get your money? And like, certain people are transparent about that and certain people aren’t. You know? It’s a very — you just kind of jump in the deep end and figure out it’s different for everybody. But anyway, I’m going on a tangent.

Genre Filmmaking

FF: No, it’s all super useful. I’m really glad you’re touching on these things even if you don’t want to go into them. OK, let’s transition to talking about genre filmmaking.

MA: Cool.

FF: OK, so you’ve made Deep Tissue and Ride which you wrote and directed. And then you directed First Date, and now you’re writing at least one feature, and they’re all in the horror genre. And because I follow you on Instagram I know you and your family did this cute thing last October where you suggested a different horror movie for every day in October. So does this love of horror just go way back? Or what exactly got you-.

MA: What’s the catalyst?

FF: Yeah! Like what got you so into this genre?

MA: Yeah. My dad loved horror films. “Alloween.” I didn’t know anyone looked at that. So I love that you remember that. I mean my family grew up watching horror movies. My dad was the kind of guy who’d go to Blockbuster and watch every horror movie in the horror section. It didn’t matter if it was terrible. I remember walking through their bedroom and I’d just see the most horrific B movie VHS cover. And, you know, I was like, what are you doing Dad? My brother’s like that too, he has seen, like, every horror movie. It doesn’t even matter if it’s good or bad. And my cousin as well who’s a little bit older than I am and a writer and director himself. He had a Lost Boys poster in his room and I was like, what is this? So it was just around me all the time, and my family at Christmas always got each other movies. My grandpa loved Westerns, so I was raised in a very filmic family and it was something that connected us. It’s no surprise that all of the offspring have gone into the arts — my brother is an editor — because we were raised with an appreciation of movies that connect you. 

There’s nothing like sitting in a theater and all screaming together. I mean, laughing is the same. But a good horror movie can make you do both — or you scream and then you laugh. 

I remember I saw Hereditary in New Orleans at a film festival called Overlook, which is great. And I think it’s the only time in my life where I literally jumped out of my seat and screamed and then we were cracking up through the scene because we were like, this is so fun. Like I think that that’s something that I love about horror films. And I think it goes back to — you know, the theme being story here — like, I don’t set out — especially when I was making Deep Tissue. I was making a romance. I wasn’t like, “I’m going to make a horror film.” Then once we got into the score and figured out the way we were shooting it, then I was looking at a lot of 70s horror, because but I think that, again, it’s like what does the story need? And a lot of my stories lately, and I don’t know if it will be like this for the rest of my life, are horror-leaning. Also I think I process darkness. I remember our [playwriting] Professor, Gretchen, in college, we kept having to write scenes. And I kept writing scenes about love and strangers meeting and it was just like love, romance. And I said, “I’m so sorry. This is all I can write about.” She was like “don’t ever apologize for that.” There are writers that write about the same thing over and over and over again. Look at Scorsese. Scorsese makes films about New Yorkers, you know, and other things. But like no one has ever been like, “man, I wish Scorsese wouldn’t make another mob movie.” We’re like, “please keep doing you,” you know? My first film, Interior Teresa, was not a horror film. It had magical realism, but it was about religion. And that’s been a theme I’ve noticed, especially lately now that I’m, you know, formulating ideas on my fifth or sixth feature. Yeah, it’s been a lot of writing in the last two years. It’s still about religion. I think that religion and spirituality are also something we see a lot in horror, because horror deals with life and death, it deals with spirits and demons. It deals with — I mean, a lot of the stories from the Bible are horrific. And even if you’re not looking at the Bible, I just think spirituality is something that’s fascinating to me, that I’m still working through being from Texas. And I really am fascinated by why people do things. The feature that I am in the process of casting now is very much more of a psychological descent film with horror elements. And then I wrote this erotic thriller set in Vegas and erotic thrillers have sort of horror elements to them. I just think horror’s fun and you can kind of throw in laughs and you can throw in screams and everything.

FF: As you said, you’re writing so many horror films because that’s what the stories lend to and that’s what you love and that’s what works for you. Do you also see some strategy in continuing to specialize in a specific genre?

MA: Yeah, I think when Deep Tissue came out it was in the right time and place where people were actively looking for women's stories in ways that they hadn’t been before. I mean, horror has been dominated by men. You know, let’s be honest. The whole film industry has been dominated by men, like many other industries. And I think it was the right time and place, that people are looking for erotic thrillers. People are looking for horror from female perspectives. And, you know, Claire Denis and Karyn Kusama, and even Julia Ducournau that did that film Raw, there have been so many women that I mean — Kathryn Bigelow’s film, Near Dark, which is genius, is a horror film. It’s with Bill Paxton, it’s a vampire movie. Watch it. It’s great. But she started in horror. And you see how even though she’s done films about war, they’re all kind of similar, war is horrific. So I don’t know that it’s necessarily a strategy. I think that being someone that specializes in something is always a benefit. 

I would love to be one of the filmmakers that make things across genres or even that has my own kind of genre.

Like I love Yorgos Lanthimos, who just like makes Yorgos Lanthimos movies that are kind of genre leaning, but sometimes they’re not. Dogtooth, which I find to be hilarious and was a huge influence on Deep Tissue, has dark, dark, dark humor, but also horror elements. And then The Favourite is a comedy, but also a dark comedy. You can kind of work across the genres. Tarantino is someone that has their own vibe. I keep bringing up Claire Denis, but I love her. She does as well. But yeah, I don’t know that it’s necessarily a strategy, but I definitely think it helps to find your voice. I think that’s what I’m trying to get at. What is your voice? And I guess my voice right now is in this sort of horror-thriller landscape and that especially when you’re starting out, people don’t know what your voice is, or what you’re saying. Why are they going to go to you? We need to go to her because this is like her thing or we need to go to him because, like, this is her thing, his thing. 

At a certain point, you want to transcend the boundaries. But early on, I do think it helps to be knowledgeable about that certain subject. 

If they’re remaking a film and they’re like, we’re looking for horror writers, you know, or drama writers, then my manager can say, “Hey, here’s Meredith, she has multiple scripts in this genre” and you’re more likely to get a job. You know, if you have more scripts in that genre, whether it’s comedy or drama or whatever, if you have a script in all the different elements, that can also be helpful, too. But I don’t think it’s a strategy as much as it’s finding what your voice is. And anyone that has a voice goes far. A voice that has something to say that’s good. I don’t want to say “everyone” that has a voice because there are people that have a voice that could be evil. I don’t know, you know what I’m saying.

Writing Advice

FF: Is there anything else you want to say or talk about?

MA: Yeah, I wanted to talk a little bit about writing, because I think when you’re starting out it can be really hard to write stuff on spec because no one is paying you to do it. And it takes a lot of time to write. And this has been a year of a lot of writing on my own time during quarantine. And you have to find ways to stay motivated. 

And at the end of the day, it’s something about viewing what I’m writing as a way to process my questions about the world that keeps me going. 

I’ve never written a script that wasn’t related to some deep emotional place in me. I always say write from your gut. And that is exhausting. There was a night where I was working on my feature that we’re now casting. This was before the pandemic. And I was in early drafts and it’s dark. And I think being an actor, when I’m writing I sort of get into the minds of these characters sometimes, like through how I approach acting, like why is this character doing something, and kind of embody it as I’m writing it? And I went dark, you know, and texted my brother. I love writing in hotels. So I was like, “I’m going to stay at the hotel. I’m just going to finish the script tonight.” And he was like, “you sound crazy, leave.” You know? And I think that he always — and I love my brother for keeping me accountable. It can be really scary when you’re doing something on your own, whether you’re writing, or preparing for a role. And I think you have to have boundaries, but you also have to stay motivated. I do think it’s about staying motivated but having boundaries for yourself and letting yourself go to those dark places or those fun places or focus on whatever it is, and come out of it. 

So find things to write about that truly are fascinating questions to you. 

You know, going into a script and being like, “what do I want to understand better through the process of doing this? Who am I writing this for?” And sometimes if it’s just for you, that’s OK. I think when you get into the later stages after you’ve written it, go, who is this going to speak to? But I think my favorite literature or films are very personal to the director. You see the director coming through it because it’s important to them. You know, I think I’m that person. And I read this great book called On Writing by Stephen King. I read that a few years ago, and there were two things that really changed my life. One of them is the chapter — he spends a lot of the first part of the book talking about his life. And I believe he was working at a laundromat or something and he was married and I believe they had kids at this point. And they were really struggling financially and he wrote Carrie. And then it got picked up by a publisher and of course, became Carrie. And he made more money than he even knew was possible. And I just remember reading that on a plane and crying because I was like, oh, my God, so many writers for so long spend so much time putting in the time and effort. And, you know, the artist struggle is real because it takes time, time that you could be spent making money! Or more money. But you got to put in the time. But when I saw that, I was like, man, this gives me hope. You know, if Stephen King can come from that and just look at him, he’s prolific. The other thing I really loved was he’s a writer — and not every writer is like this — that only writes like two to three hours a day. And then he’ll edit, you know but I was like, oh, I can do that? 

One of the biggest enemies of creatives is the expectation that we put on ourselves. 

If you sit down and you’re like, “I’m just spending this whole day writing” you’re not going to do it because it’s too overwhelming. For me, I love writing with a beverage because with the time it takes to have a meal or a beverage like great, I’ve got about an hour or two of writing, and then sometimes that’s all I do in a day. And obviously hearing that from someone who’s one of the most prolific writers that we know of, Stephen King, that’s been so great for me because I think it’s awesome to go to a coffee shop, write for three hours a day and it’s exhausting.

Interview has been edited for clarity. 

Follow Meredith Alloway on Instagram and learn more about her on her website. 

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

The Kids are in the Picture, Part 1: Casting

By Elizabeth Chatelain

Tom (Jefferson White) and Rowan (Payson Jane) on the set of Paper Geese. Photo by Abby Hanson.

The other day I was speaking with a colleague and they asked me if there were any themes that ran throughout the films I’ve made. It dawned on me that almost every short film I’ve written has children in it. They are of various ages, but I realized I am drawn to stories of childhood and the relationship children have with parents and their siblings. 

The first, Karin’s shoes, is set in Texas in the 1950s. It is based on a story that my mom told me about the only time she was ever hit with a belt as a child. The second, Breathe Under Water, is about a young boy and his mother, and his experience with nearly drowning. The next, Jenny and Steph, revolves around two sisters, the eldest a teenager trying to fit in by having a house party, and in the process introduces her younger sister to drugs. Sundogs follows a single mother and her 4-year-old daughter in the oilfields of North Dakota. And most recently, the leading role of Paper Geese is a nine-year-old girl, Rowan.

I really love working with children on a film. They are spontaneous and full of energy, and I have again and again been dumbfounded by their ability to grasp what I’m asking of them at an emotional and intellectual level. Working with kids has its challenges, but it’s also very rewarding. 

This article will be written in two parts, the first focusing on how I approach casting children, and the second about directing them during production. I write only from my own experiences, not any proven method, but I hope these thoughts can be helpful.

Casting children can be a challenge. There are more than a few methods, and I usually utilize a combination of them. First, of course, you can hire a casting agent, which I did for Jenny and Steph – this is especially helpful if the kids are a little older, ages 12-18, and if you are in a film production hub such as New York, Los Angeles, Atlanta, or Austin. At the time we were casting for Jenny and Steph, I was based in Austin, so kids came from the other large cities as well: Houston and Dallas. We were able to find many amazing young actors and a few who really fit the parts exactly. 

There is also another method, especially helpful if you are casting outside an urban area: a public casting call. Put a call with the location, date, and a little blurb about the film out to the local newspapers. Notify schools, after-school programs, children’s theaters, etc. This was a process used when I assisted casting on one of my mentor’s films, Hellion. We traveled to the small community of Port Arthur, Texas, and had a whole day of kids coming in to audition. These kids are not necessarily actors, but those who are simply interested, curious. It is surprising how often you can find potential through this process. Often child actors have been overtrained and do what is termed “indicating”- using an artificial expression to get the emotion across. They usually read very inauthentically on film. So there are times where an untrained kid will end up being the best for the role. For Sundogs, I had specially written the film with my niece in mind, knowing she would be cast as the 4-year-old daughter. For Paper Geese we did an open casting call, contacting teachers and acting agencies in Fargo because I knew I wanted to shoot on location there and I also wanted a girl whose roots are in North Dakota.

So how is an audition different for a child than for an adult? It is usually a combination of reading from a written script and improvisation, depending on how young they are. With children under 8 or so, I usually don’t focus on a script or have one at all. With younger children, you might play a game with them. Or improvise a scene they can relate to. What you are looking for is the ability to listen and engage while the other actor is talking to them, and that they give thoughtful responses. You’re looking for imagination and connection. They should also show some flexibility when you ask them to think about something differently. The directing tool, “do this as if…” is something that is used for both adults and children. I’ve also utilized acting exercises with them. For Paper Geese, I acted as though I was the father character, and I instructed the girl to do anything she could to get me from hurting an animal. Another thing to be aware of is physical quirks. If the child doesn’t make eye contact, if they do something nervously, it can be hard to create the space to make that child comfortable enough to change that behavior once on set. 

I also always meet with the family. Because children will be with their parents on set, you have to also gauge what that dynamic will be like. It can make a big difference working with families that have been in films before and know the expectations, versus families that have never been on any sort of set.

Of course, each director and casting process is unique, and characters’ personalities can vary widely. Just think about what you are looking for, and how you can best discover that in a child. Once the casting part is over, you’ll shift your focus to rehearsals and production. Working with kids on set will be in Part 2.  

Elizabeth Chatelain is an award-winning writer and director from North Dakota. Her feature screenplay SUNDOGS participated in the Berlinale Script Station, the Hedgebrook Screenwriter’s Lab, and was an Academy Nicholl Fellowship Semi-Finalist, Atlanta Film Festival Screenplay Competition Winner, and Showtime Tony Cox Screenplay Competition Winner. Follow Elizabeth on Instagram @emchatelain and at her website, elizabethchatelain.com.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Top 9 Reasons Diversity in Media Matters

By Jessica W. Chen

Actor/Writer/Dancer Craig Fishback on the set of the short film It’s Who You Know in Los Angeles. Photo by Adrian Gutierrez.

According to the Brookings Institute, four out of ten respondents to the U.S. Census reported being of a race or ethnicity other than white in 2020. These statistics prove that it’s time to update America’s media output. Since Hollywood’s inception, whiteness has been considered the “default.” You have probably noticed that TV and film often feature predominantly cis, white, upper-middle-class, straight, and/or non-disabled characters, and contain troubling portrayals of characters who don’t fit into these descriptors. It’s time to move away from default whiteness to better represent our society. 

As the producer of projects such as the Re-Casting the Movies podcast, and a queer reading of Alexander Utz’s Frankenstein play, I’m always thinking about how diverse casting and media affect audiences and society at large. After some introspection, I thought I’d share why this cause is so near and dear to my heart. Here are my top nine reasons why diversity in media matters:

1. It better reflects the society around us

New York often makes “most multicultural cities” lists, highlighting just how strange Hollywood's tendency towards “default whiteness” is in many films and TV shows set in New York, such as Breakfast at Tiffany’s and Girls.

Some of this lack of diversity can be explained by the homogeneity of writers’ rooms since 91% of Hollywood showrunners are white and 86.3% of writers in Hollywood writers’ rooms are white, according to a Color of Change report. With mostly white writers offering their experiences, it’s easy for them to “write what they know,” and centering their stories on their friends, family, and communities. 

However, casting also plays a big part. With so many white writers and executives, there’s an unspoken assumption that characters are white. With the very rare exception, roles that aren’t explicitly written for non-white characters don’t usually end up casting Black or brown actors. Although TV and film have been getting better at depicting our multicultural society, non-diverse casts broadcast a representation of the U.S. that erases certain communities to audiences. This leads to wrongful impressions of American history and society that deny its cultural richness.

The cast of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Jessica W. Chen, Jordan Mahr, Young Mazino, Lex Bolisay. Photo by William Loo.

2. It creates role models for new generations

When Barack Obama became the 44th President of the United States, the possibilities of what was possible suddenly opened up for Black communities. With his election, President Obama became a role model and symbol of Black excellence and inspired many young people to strive for their dreams. 

Diverse media also has the power to open up the gates of possibility for young people from communities made marginalized. In recent years, audiences have begun documenting how diverse casting affected themselves or their families, such as the viral response a Mexican father had to Diego Luna’s natural Mexican accent when he played Captain Cassian Andor in Rogue One: A Star Wars Story. 

These touching stories reveal how audiences from underrepresented communities feel seen after observing films portray characters with their backgrounds as heroes. Diverse media that creates a wide range of role models helps make previously unimaginable dreams accessible, especially after growing up with media that inadvertently tells young people that if they don’t fit into society’s default whiteness, then they have no worth outside of being the protagonist’s best friend or sidekick.

3. It normalizes our differences and lays bare what makes us relatable

Recently, when the Re-Casting the Movies team spoke with Philip LaZebnik, one of the screenwriters for Mulan (1998), we asked him how he approached writing characters with a different cultural background than him. While he acknowledged that research and speaking with people from the community is of utmost importance, he also emphasized that certain dynamics, such as family dynamics, ring true across cultures. 

Often, due to ignorance, we otherize people who don’t resemble us by pointing out differences. However, if more diverse media exposed people to communities they weren’t familiar with, it would help normalize cultural specificities. These stories would show audiences that we all go through universal and relatable human struggles, leading to greater understanding and empathy across communities.

4. It reminds us not to abide by age-old stereotypes or succumb to bigotry

In addition to having diverse representation in media, it’s also crucial to push for accurate and varied representation. With the near-ubiquitous representation of white protagonists, you don’t find many age-old stereotypes about white people because there are simply more experiences to draw on. There are a plethora of stories featuring white characters with nuance and depth.

However, those from underrepresented communities aren’t afforded that luxury. Due to not having much media representation, Black and brown characters are few and far between. And, if the representation that does exist is inaccurate or narrow, it’s the perfect setup for conveying faulty messages or sowing bigotry about certain communities. 

An example of how diversity without variety can be harmful is with the sudden proliferation of reality shows starring affluent Asians, such as Bling Empire and House of Ho, after the popularity of Crazy Rich Asians. (And before you think I’m drawing my own conclusions, multiple publications tie these shows to the hit 2018 romantic comedy film.) While it’s nice to see Asian wealth being celebrated, this media narrative obscures how income inequality is rapidly rising in Asian communities in the U.S. and leads to those unfamiliar with these statistics to assume that Asians are universally well-off. 

Actor Manny Ureña on the set of Abuela’s Luck, set in an NYC bodega.

5. It guards against self-hate and shame

Being depicted as the hero matters a lot more than one may expect, especially if you’re used to regularly seeing someone with your experience on screen. Although this may not be true across the board, I admit that years of not having heroes of my background represented conditioned middle school me to feel a certain degree of self-hate and shame towards being Asian because I never saw someone who looked like me depicted in an empowering way. 

When you never see yourself as the hero, you begin to believe that you’re not worthy of or don’t have the ability to be one. This programming conveys society’s expectations (or non-expectations) toward you and your community. Lifting this assumption by creating diverse protagonists in TV and film legitimizes and celebrates marginalized communities who aren’t used to seeing themselves depicted in such powerful and positive ways. 

A clear example of this is with Black Panther and the cultural phenomenon that erupted from it. The cultural impact of Black Panther displayed the jubilation that Black communities felt after witnessing the tentpole release of a film with an African hero at its center. That feeling of being seen and lionized makes a huge difference to young people and helps build self-love and pride. 

6. It gives actors chances to be seen in roles they normally wouldn’t be considered for

Besides creating diverse heroes, diversity in media also needs to extend to casting practices. When productions ask casting directors to find actors for specific roles, pre-established biases often affect who gets called into the audition room. 

For instance, if the role calls for a counselor, even if the casting call doesn’t specify race, a casting director may pass on giving actors of color a chance to audition, if unconscious biases suggest that an actor of color would be “unconvincing” or “isn’t the right type” to play a counselor role. 

However, if more casting directors were aware of possible bias and considered all races of actors for roles where there are no specific character requirements, then we may get TV and film roles that open up the possibilities for Black and brown actors regarding who they can play. Over time, this new world of casting may wear away societal stereotypes and expectations towards what groups of people are capable of or are suited to do.

Another shot from the set of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Young Mazino and Jordan Mahr. Photo by William Loo.

7. It gives value to everyone’s experiences

When diverse stories are finally given a chance to be told, casting needs to also catch up to reflect the experience being conveyed. Having actors who match the experiences they’re portraying is the best way to give value and authenticity to stories. 

For instance, having Eddie Redmayne, a cis man, play Lili Elbe, a trans woman and one of the first recipients of sex reassignment surgery, undermines the experiences of people in the trans community. By perpetuating the idea that trans women are just men in dresses, the movie does more harm than good, despite spotlighting a pioneering trans story. Eddie Redmayne may be talented, but casting him sends the message that trans actresses’ life experiences aren’t valuable and can be easily adopted through a combination of research and costuming.

8. It prevents us from being written out of stories

Conscious casting also prevents people from communities made marginalized from being written out of their own stories. People from underrepresented communities played many important roles in history, but often, mainstream movies lead to misconceptions of how homogenous society and historical heroes were. 

An example of this is Argo (2012), where Ben Affleck plays the protagonist, Antonio Mendez. Based on a true story, casting Affleck effectively erases Mendez’s Mexican heritage, which is regrettable since he led a daring and heroic historical event. If Mendez had been represented by a Latino actor, the movie could inspire and remind young people in the Latinx community that they’re a crucial part of the fabric of American history, too.

For more instances of whitewashing, check out Re-Casting the Movies’ excellent list of whitewashed movies, one for each year of the 2000s.

9. It brings new American stories to the table 

When productions cast consciously, there’s a greater chance that new American stories can see the light of day. For decades, American TV and films have focused on telling stories about cis, white, upper-middle-class, straight, and/or non-disabled casts, which has built up over time a fixed idea of what constitutes an American story. 

This narrow definition of American stories leads to controversies, such as prestigious film awards designating The Farewell and Minari as foreign or foreign language films, even though both movies were made by U.S. production companies. Characterizing these movies as “foreign” feeds the American perception of Asians as perpetual foreigners or immigrants, despite how many Asian families having been in the U.S. for generations.

As you can see, such a limited view on American films simply doesn’t work anymore. A society as diverse as America deserves media that celebrates its nuances and richness. After reading this article, I hope it’s clear why changing the paradigm of who and whose stories are considered American through informed casting and media creation is a shift that is long overdue.

Find out more about Jessica W. Chen and her work at her website. Or, follow Jess on Instagram, Facebook, and Youtube.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Consider Specializing in Location Scouting

By Geoffrey Kinsey-Christopher

Photo from a location scouting trip to Ahwahnee, CA for Prologue, a Fourwind Films short film. Photo by Gary Jaquez.

Movies are all about escape, taking viewers from their real lives and familiar spaces to mythical lands, futuristic cities, olden-day slums and ghettos, hotel lobbies — the options are limitless. The choice of a movie scene’s location not only determines the producer’s ability to tell the story effectively but also the degree of enchantment the movie has on viewers. I know I’ll never forget Luke Skywalker’s home in the Tatooine desert. 

Location scouting is a technical process that requires an eye for detail, proper prior planning, and a high degree of professional engagement. It is gaining traction as a potent skill, which inspired me to raise awareness of its importance. It can be an entry-level position or a life-long career. Either way, specializing in this skill enhances the production quality and can provide steady work. 

Workflows

From the technical elements of the filming process and how the location enables them, to the bureaucratic, ethnographic, and creative dynamics, there is a lot that goes into scouting a movie’s location. It’s a laborious process, there is no question about that. For this reason, it is necessary that location scouts commence their job as soon as the script is out. With the script, the location scout will have an idea of how different settings will enhance the movie’s production process and, possibly, based on a perfect choice, become a hit in the box office.

A location scout will focus on a number of factors when determining the suitability of a location. First, the scout will be on the lookout for locations with an aesthetic view that meets the set requirements or standards of the movie directors and producers. It’s important to understand the nature of the location scout’s relationship with the scriptwriters, directors, and producers. The decision on the general scenery is left to these individuals, so the scout needs to find locations aligning with their needs. The budget of the movie will also determine choices. 

Technical considerations that go into the choice of a film location can easily fall through the cracks if location scouts fail to actively keep a checklist. For instance, it would be important to take note of the logistical feasibilities like accessibility, climatic conditions, lighting, parking, and power supply. To any other individual, these could be minuscule details that have little bearing on the movie’s production, but to a location scout, these are factors that determine the comfort of actors and their ability to perform optimally. 

Photo by DP Blake Horn using the Sun Seeker app on a location scouting trip.

Location Scouting Resources

The embrace of technology in the location scouting process can also help. There are, currently, a number of location scouting websites with databases of locations worthy of consideration. Peerspace, LocationsHub, and Wrapal, recently acquired by Set Scouter, are some of the popular location scouting sites. Additionally, Google Maps can help location scouts get lots of information about a site by simply keying in the address. Photos of the location could also be available online, simplifying the decision-making process. 

Happy Scouting!

Location scouting is not as simple as looking at the script and finding the next available point to shoot. For instance, a scene set in a jungle does not necessitate the selection of any forest. A location scout should know that there is more to a location than just the appearance and resemblance to the scene. For this reason, a location scout should be well informed theoretically and practically. I encourage freelancers and students taking filmmaking courses to consider location scouting as a specialization. It will make all the difference over the course of a career.

Find out more about Geoffrey Kinsey-Christopher on his Instagram, Vimeo, Letterboxd pages.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Telling Stories Outside Your Personal Experience: 7 Steps for Staffing and Running a Writers' Room That Writes Diverse Stories Well

By Jessica W. Chen

Actors Winter Dunn and Craig Fishback on the set of the short film, It’s Who You know. Photo by Adrian Gutierrez.

Recently, I rewatched Mulan (2020) in preparation to record a podcast episode for Re-Casting the Movies, a non-profit that challenges people to think outside the box for casting. While I was viewing the film for the third time, I couldn’t help but ponder whether the lack of Asian or Asian American screenwriters played a factor in the movie’s notable cultural inaccuracies and Mulan’s unrelatable, inauthentic character. 

As a writer, it’s often comforting to write what you know, without having to worry about inaccuracies or potentially appropriating someone’s culture. And, given the racial, ethnic, and class make-up of the majority of writers rooms, that explains why onscreen characters that aren't cis, white, upper-middle-class, straight, and/or non-disabled are still a rarity. 

For evidence of how writers rooms don’t often reflect the world at large, consider a 2017 Color of Change study that found that “Fewer than 10 percent of the shows were led by minority showrunners, and only 14 percent of writers across all shows were members of a minority group.” And, a  report conducted by GLAAD found that while the 2019-20 season of scripted broadcast programming reached a record high of 3.1 percent characters with disabilities, this was not representative of real life, as over 20 percent of people in the U.S. have a disability. These issues are structural and multi-layered but can be partially addressed in the writer’s room.

This makes me think back to the November 2019 writers’ room I created for Lil Swimmers Production’s Existential Crisis Club, a dramedy series about four 20-somethings who struggle with planning an alcoholic bubble tea bar's opening while grappling with the crushing existential dread of having life together by age 30. 

In this series, one of the four 20-somethings is Gabe, a gay man who struggles with his love life. When I led the writers’ room that wrote Gabe’s story, I wanted to be sensitive and truthful to the gay male dating experience. As a straight, cis-woman, I knew this meant expressing and dealing with unique challenges, most of which I wouldn’t necessarily be familiar with.

So, how did I do this? Here are the seven steps that I learned about how to staff a writers’ room that can write diverse characters:

Step #1: Staff the writers’ room consciously

I’ll admit that I kind of failed at this part for Existential Crisis Club because I had initially populated the writers’ room with my close writer friends without thinking too hard about staffing consciously. Thankfully, I’m friends with people from a variety of backgrounds. Upon further inspection, I realized that out of six writers, half identified with being part of the LGBTQ community, which worked well for telling Gabe’s story. 

More recently, when I started from scratch and formed the writers’ room for Drama High, I knew better. I took care to assemble a group of writers who I knew came from different life experiences and could bring something unique to the table. Despite Drama High being a love letter to Asian dramas, I made the decision to also recruit writers who weren’t Asian or Asian American. The writers who weren’t Asian or Asian American were still Asian drama fans, which I find invaluable since international drama fans need a voice in our room, too.

Step #2: Consider hiring cultural advisors

This tip may be more aimed toward higher budget productions. However, if you have the resources, then hiring cultural advisors is a smart investment for helping your writers tell more authentic stories that are respectful to the communities you’re drawing from. 

You may have heard how Disney put together the Oceanic Trust, “a group of anthropologists, cultural practitioners, historians, linguists, and choreographers from islands including Samoa, Tahiti, Mo’orea, and Fiji,” to serve as cultural advisors for Moana. Or, even science advisors for Marvel movies. These subject matter experts (SME) act as consultants to help steer productions away from inaccuracies that may distract from the story or cause offense. 

Step #3: Hire more than one voice per experience

While you may not want to have more than ten writers in your writers’ room, be sure to hire more than one voice per experience you want to tackle to prevent tokenism. Tokenism involves “including someone in a group purely for the sake of sounding or looking diverse.” 

Hiring more than one voice per experience keeps in mind that not everyone with a particular experience has the same experience. For example, consider that “the Asian American experience” covers an enormous range of ethnicities, socioeconomic statuses, and generations in the U.S. Therefore, if you’re writing a story that purports to relate “the Asian American experience,” first of all, get more specific. Which cultures and languages have the character been exposed to? What’s their socioeconomic status? From there, it helps if you have more than one Asian American writer in the room who can contribute their unique perspectives, and have the experiences that allow them to relate to the character they’re writing. You’ll find that having more than one voice per experience helps you hit closer to the truth. Human experiences are complicated, and having multiple viewpoints uncovers those nuances.

Step #4: Cultivate openness, honesty, and trust

The most effective stories touch upon relatable truth. To get at these truths, your writers must be willing to bare their souls and bring their lived-in experiences to the table, even if they’re not pretty or heartwarming. Getting your writers to this vulnerable position requires you, the showrunner, to cultivate openness, honesty, and trust, whether that’s through enlisting your close friends, as with Existential Crisis Club, or taking the leap and sharing your own painful stories first, as with Drama High. Whatever you choose to do, your writers must feel safe to share their stories, and it’s your job to get them there.

Step #5: Listen actively when writers share stories

When writers share their experiences, show you value your writers’ contributions by listening actively when they share their stories. This can be difficult to convey if you’re holding your writers’ room virtually like I am due to the COVID-19 pandemic. However, during the video calls, I ask my writers to note down their ideas in a shared Google Doc after speaking, so I can stay focused on the writer when they’re telling their stories. Oftentimes, I ask clarifying questions or elaborate on how their stories relate back to the characters to show I’m working their ideas into the script. These little gestures illustrate that you hold your writers’ time and efforts in high esteem, which makes them more comfortable with sharing further.

Step #6: Conduct yourself with empathy 

Not every story is an encouraging one, and some may even be tough to relate to. Thus, it’s crucial to set an example for the rest of the room and conduct yourself with empathy. Be sensitive when writers tell stories that may be painful or triggering, and warn others if you’re about to discuss one. Put aside any entitlement you may feel towards knowing someone’s story because if that writer is uncomfortable with talking about a part of their life, then you must let it go. Pressuring your writers to share won’t raise the morale of your room, and will only show that you don’t care to respect boundaries. 

Step #7: Aim for truth, but do so with dignity

A writer's personal bias often affects how a character's story is told through editorializing. Editorializing is when the writer introduces their own personal opinion on a subject when writing about that subject, often through the use of words with specific connotations or the way they speak about the subject. 

When writing a character whose lifestyle or decisions may not match yours, do so in a way that shows empathy for the character and affords them dignity. Even if the experience has some elements that you consider “seedy” or causes you to place judgment on it for whatever reason, attempt to discuss the experience evenhandedly. After all, if you can’t even be respectful to your character, then why are you trying to tell their story? There must be a writer out there that can do the character justice, so give the story to them instead.

Now that we’re entering 2021, it’s about time writers learned how to incorporate experiences that aren’t their own into their writing. With these steps in mind, showrunners will be able to staff and run writers’ rooms that are one step closer to delivering characters that let audiences experience new American stories that showcase the intricacies of our diverse society.

Find out more about Jessica W. Chen and her work at her website. Or, follow Jess on Instagram, Facebook, and Youtube.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.