- 1 hour ago
Respected black film and television directors oepn up about their nuanced journeys to success. From pitching their projects, to securing adequate budgets, to getting projects green-lit, to fighting to get more culturally relevant stories told, these industry veterans have seen and done it all.
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00:00Good morning everyone. Thank you for coming out. It's good to see you all looking lovely on this
00:08rainy day. I'm very happy to see all of you and you are in for a wonderful discussion with these
00:14very esteemed directors. This is the director's cut at the Essence House. My name is Lamonia
00:19Deanne Brown. I'm the director of the Essence Film Festival which I hope to see all of you at this
00:24July in New Orleans. So let me direct let me introduce these directors to you. On our very
00:32far end we have Naka Onora. Give her a hand. We have A.V. Rockwell sitting right next to her.
00:43The legendary Billy Woodruff and the beautiful Sally Richardson Whitfield.
00:49So let's get started. I have a question for all of you and we'll start. Sally you can start and we'll
00:56just go down the line. How did you go from wanting to be a director to actually becoming one?
01:03Well for me luckily I was on a TV show at the time and they a series called Eureka and gave me an
01:11opportunity but I was really inspired by Ava DuVernay when I shot I Will Follow which was her first film
01:18and after after seeing her and her sort of speaking some words to me of I think you should be doing this
01:25I was able to go back to my show of course shadowing great guys like Billy and different directors before that
01:32and I was given that opportunity.
01:36I was interning at BET and I wasn't sure exactly what I wanted to do in entertainment.
01:43I was working in all the different departments and then I did a behind the scenes story on Spike Lee and I hadn't seen anyone like that before.
01:52You know they looked like me that you know I was wearing a baseball cap and he inspired me and so he let me come and shadow him a lot and then I eventually got a chance to do music videos and moved from there.
02:04Ava?
02:05That's interesting because I actually I think for a long time I knew that I wanted to work in entertainment in some capacity as well wasn't really sure where I would fit in and at the time when I discovered filmmaking I was studying abroad and I was taking like a European cinema class and I think just seeing like just it gave me a fuller spectrum of what filmmaking and storytelling could be and that really invigorated me and I think around the same time I discovered that like my school which was NYU
02:34NYU they had a film program so I was like oh cool like maybe I should just switch over to that you know and so I applied like last minute and it I mean it just changed my whole life.
02:45And Nika?
02:46Mine started when I was like eight years old when I made my friends do dances to Destiny's Child say my name over and over again I said from the top do that again and I was wrong.
02:58It started there but like going forward in life I think life is about really finding who you already are you know what I'm saying and so I was interned at BET funny enough for Stephen Hill who did all the BET awards and stuff and I worked there for about six years before I even started my film career.
03:13And I felt kind of pigeonholed into only telling you know music stories but I was like yo there's so many more nuances to stories out here so I literally asked my boss yo like how do I want to make my own films how do I make a documentary I literally put a checklist in my notes I did the steps and I just submitted my film into film festival so I was kind of self taught I started in psychology actually first in college and I was like I want to use this entertainment part of myself but I want to use my
03:43human curiosity for human curiosity for you know just humankind and getting curious about who we really are and so you know I quit working at BET I quit my job I said if I got into one film festival I quit and I quit and then you know I became I became who I am today.
03:58Okay yes please clap for that so Billy I'm going to start with you because you were a music video director right so I have a list here I have Mary J Blige Tony Braxton Britney Spears Drew Hill Celine Dion and then you went on to do just a few TV shows and movies like Honey Addicted The Game Hit The Floor clap star Empire Black Lightning
04:25Black Lightning he's working clap that man is working but talk about how you made that transition from music video to film and TV when I made the transition from directing music videos to film it was very difficult at that time to make that transition because the people at the film studios felt like if you did music videos you didn't really understand how to tell a narrative story and that you wouldn't be able to stick to their schedules they felt like music videos would just basically get them
04:55and um I actually got my first film because Andre Harrell who I'd worked with a lot in the music business came to me with a script for Honey and uh brought me into Universal to Mark Platt and I pitched and I got the movie and so yeah
05:10great that's a great story so how many multi-hyphenates do we have in the room oh okay that's a lot
05:20so Sally as you can see as someone who like yourself has had tremendous success and longevity as an actress a producer and a director what are some things that our multi-hyphenates here should keep in mind while they're juggling and you know trying to do various aspects of career of um filmmaking including being a director
05:40well I think you have for me so my journey obviously was an actress first and I felt that when I decided to make that switch to directing that I really had to put my acting to the side for a while and truly commit to what this next phase of my life was going to be and I think because of that I wasn't just dabbling
06:06dabbling I just immersed myself in the world and I think I was able to move very quickly up through the ranks because of that dedication so I do think that there are times when you need to make a decision what you're going to focus
06:21you're you know this time for me you can't be a doctor and just dabble in being a doctor and as much as it seems like it's easy to direct some stuff
06:30the sh- you
06:32um
06:34we home but not that home yeah
06:36it is
06:38it is not easy
06:39there's a lot of prep
06:41some of the shows I'm doing like Gilded Age or Winning Time uh the Lakers story on HBO that is not something you can just like throw out there and dabble in
06:50so I think it takes true commitment at time
06:53and um and you just maybe start here and then you go there and then you go there but
06:58that's that's my advice
07:00that's great advice thank you for that
07:02I just want to say that because I knew Sally very well as an actress and when she started directing and wanted to direct I saw her really I saw you do that I saw how you really really went all in worked really really hard did all of the prep all of the hard grunt work she didn't approach it like I'm a star she came in like anyone else that was starting from the bottom up and I was I really really really love how you did that very proud of you
07:27very proud of you
07:29yeah
07:30so AV let's talk to you a little bit so you've made short films for years and you directed your first feature film which won the Sundance Grand Jury Award
07:40no small feat for a black movie we all know that at Sundance
07:46so what were some challenges and triumphs that you experienced as an indie director moving from shorts into features
07:55you know I mean I think one thing that was specific and unique to the time was really trying to make a small independent film during COVID you know I think I was just reminiscing on that recently just how dramatic of a blow that actually had and I have so many of my friends who are fellow filmmakers
08:14they didn't even get their movies into production like they just kind of went away altogether and so I'm super fortunate that I was even able to get minds made but during that period on average people were spending like a million dollars on COVID costs alone
08:27so for a small independent film that's a very dramatic you know I mean I can daydream all day long about what I could do with that money
08:33but I am fortunate that we were able to persevere obviously we had to be adaptable and so there were things that had to change creatively in order to accommodate what was happening in that respect the impact on the budget
08:49there was also impact and just like shooting in New York we shot a lot of like a lot of scenes on the streets of New York and that was dramatically restricted because of COVID as well like when we were shooting our street scenes you can only permit one side of the street you know
09:02and then with New Yorkers you're lucky if they even like give you that side you know you can't tow away cars and stuff
09:06I'm from New York be careful girl be careful girl
09:08so am I so am I
09:10so I can talk my-ish about me and my people but my people gave me a hard time
09:16yeah we can be
09:17I mean the city the city really you know so I think it was it was really hard logistically as well
09:22but if you don't have the budget for it that means you can't execute it the way you want to and it could end up looking cheaper or you know you don't have the resources to set you up for success
09:31so in that case for me specifically like I always make sure with my lawyer that I have in my contract that I need to see the budget
09:40I need to work through everything with the line producer first so that the budget is based on my creative versus like the opposite
09:47because it could really put you in a hole and the reason you want to do that is because like you might want a jib and crane shot like when I you know shot the Lizzo series
09:56you know we did in a big stadium you know in Los Angeles that takes jibs that takes lights you got to like rent out a whole stadium that cost a lot of money
10:05and so imagine trying to pare that down what would it look like in a studio versus you know a stadium so you have to be very specific about like budgeting ahead of time
10:15so the point of it is so that you could really see your vision to fruition on the level that you want to do it but oftentimes a lot of these companies will try to keep you out of that process
10:25if you do not put it in your contract they are able to do that so that's something that I just want to throw out there to you guys
10:30when you're doing anything set the precedence in your contracts before you start the project
10:35so yeah great advice thank you for that A.V.
10:39Can you repeat the question? I can repeat the question. Thank you.
10:43It's really about budget so do you collaborate with your line producer when setting the budget and how do you work with them on that?
10:50And then in the pitch process what is your role when pitching in terms of talking about budgets to the networks and the studios?
10:57Which Nika answered wonderfully but I want to know your process too.
11:00No I mean I totally agree I think you really have to know what the numbers look like up front and you have to know that they reflect what you're trying to achieve creatively
11:07and if there is any challenges you have to be able to say like okay if this is what we're working with if it doesn't match what needs to happen here
11:14so that we're more aligned between creative and financially what we're able to work with.
11:19So I definitely keep that in mind and definitely would stress that for other filmmakers in the room as well in film and TV.
11:26In terms of conversations directly with studios directly with like executives when it comes to budgets I actually don't take part in that.
11:34You know I try to stay out of it and leave it with producers so that I can focus all my time and energy on creative.
11:39I think if there is anything pertinent you know they'll come to me and we'll communicate it but overall I like to keep that you know with them.
11:47They can have that more meaningful conversation and I can use my time and energy which is so finite when you're in a production anyway to just focus on the creative.
11:54I just want to add to what she said as well because you mentioned the pitch process itself and pitching it to networks.
12:00Sometimes what you can also do because directors are focused on creative mostly if you have a good team and they're not trying to make you do 500 jobs at the same time.
12:08Directors are focused on creative producers often focusing on money and bigger picture things like that.
12:14So in some cases you can direct and executive produce on a project and if that's the case then you would be a part of pitching on the budget side.
12:23And if you want more control that's a way to sometimes gain more control is to also direct and produce.
12:27You can't always do that your first round but as you gain more experience what you could also put in your contract is that you want to direct and EP the work that you do.
12:35That way you're able to have some say so over the budget. Does that make sense?
12:39For TV? EP for TV?
12:40Yes for TV. Excuse me for TV yes.
12:42Okay. Thanks guys.
12:43Billy?
12:44You know it's a bit of a complex question because it depends on the kind of project that you're doing.
12:50They just touched on whether it's TV or film because that's a totally different process because when you're doing TV they tend to have their whole thing in place and you don't really have as much leeway.
13:00With that if you're pitching your movie that's your movie you know that you're making and you're developing and you have your line producer that you're hiring.
13:07I just think it's really really important for filmmakers to understand that the line producer is so so so important with how your end product comes out with how your day to day works.
13:17So you really need to try to find a line producer that doesn't only care about the money but that cares about the creative.
13:24You really need someone that's going to be your creative partner that you can feel like they feel the passion for you for the story that you're trying to tell because they're going to help you find ways to make your vision happen.
13:34And so like she was saying you're trying to focus on directing and you want to trust those people but you need to have people that you feel are also having your back creatively not just cutting corners you don't know about.
13:44Because there are always going to be things that you didn't think of financially that could come and bite you in the ass you know.
13:50And so I found through my experience that when I get a line producer that's really really committed to the creative it helps me you know tell a better story.
13:59Helps me not be stressed out you know because it's in your time with the cranes everything else you want.
14:04You want someone that's just as excited as you are about making that vision come to life because they're not all like that.
14:10A lot of them get hired because they're coming under budget and so their job is more you know to save money.
14:17And it's always going to kind of.
14:19Y'all know what a line producer is right? Y'all know what a line producer is?
14:24Okay.
14:25Okay.
14:26Tell him.
14:27My co-moderator wants us to have the question about what is a line producer.
14:30No I didn't know if they knew.
14:32That's important right?
14:33Y'all know?
14:34Well I need co-moderators.
14:36They oversee the budget of the film FYI.
14:40I just didn't know if they knew.
14:41No it's great.
14:42I love it.
14:44You have creative producers you know who are dealing with all the creative and interacting with you on casting and kind of over the whole thing.
14:49But the line producer is the person that's dealing with the day to day with all the vendors, with who you're hiring, how they're getting paid, how the catering is done.
14:56All of the different things in the nuts and bolts of making the film happen.
15:00And a lot of times that's why people don't think about how important the creative is with them.
15:04But it is because everything they do affects the creative.
15:07And like you said they can be working with you or they can be working against you.
15:11And they can do things behind your back that you don't know about and you're hoping like if we have a problem here then let's fix it together.
15:20Because okay we can't afford this so don't just scrap it.
15:24Let's all discuss it so we can find the best creative way to get what I want.
15:30You know and now as Billy was saying it's different doing film and TV.
15:37Going I'm doing mostly TV right now but now as an executive producer on some of these shows I am able to go okay you said we can't have I know what scenes are important to me.
15:51And I now can be part of that conversation.
15:53Okay so I can make this smaller so that we can go to this location and I can get the extras I want here.
16:00And I can you know when you're coming on as a guest director a lot of times you just got to do what you got to do.
16:06But it you know it has become more of a puzzle as being creative and having to produce of looking at that board and going okay well if we moved here.
16:16Oh well we could move this scene here and pick that up here and because you want you know you know you should know in your piece if it's a movie or TV show what scenes are the most important money important scene to put your money into.
16:31And then we can do this one smaller so but again having a good line producer is is everything sometimes.
16:39Which is why thank you Nika for asking that question so everyone does need to know what a line producer is because very important.
16:46You had something else you wanted to say?
16:47No I was just saying that the line producers got the church usher personality sometimes to your point.
16:52You know sometimes they work against you like she was saying I didn't even think about them.
16:57Because if they save money they may get a bonus.
17:00So wait can you say that again I'm not sure everybody heard that.
17:04If they save the production money they get a bonus.
17:08So they may be thinking more about themselves than your project.
17:13Than your creative yeah.
17:14And so you need that person who's really passionate about what you do and there's some really great line producers and there's some that aren't.
17:22So you got to know who you who you got and sometimes you get the bad one and you just got to be looking over they show.
17:28Fight it out.
17:29Yeah fight it out.
17:30Okay thank you for that.
17:32This is a question for everyone again and Sally we'll start with you on this one.
17:37Can each of you share one do and one don't for aspiring filmmakers to be aware of when their project is being pitched or when they're pitching projects.
17:47And if possible can none of you repeat what the other says.
17:50So you get four different things.
17:52For your pitch.
17:53Okay.
17:54Know that you only get one shot at it.
18:00So it's really just like even directing something.
18:06It's all about your preparation and making sure that as you're pitching this project there is not a question that that producer.
18:15I mean that that exact can ask you that you don't have an answer for.
18:20You need to know that story especially TV inside and out or be quick on your feet and make it up.
18:30But it's really about that prep.
18:32I remember my first pitch not really knowing how much I needed to do.
18:38And now that I'm doing proper pitches with you know I spend sometimes a lot of money on my pitch deck.
18:45Having a company do it for me because I because you need to wow them right out of you know you need to know what those what is going to be the next season one and two and three of that series.
18:58So it's really about thinking out everything you're going to say because you're only going to get one shot at it if for that studio.
19:07So just prep prep prep for anything.
19:11She kind of covered most of it.
19:15But no I would say that I hate pitching.
19:18I don't feel that I'm good at pitching.
19:20I've been doing it a long time.
19:21I hate it hate it hate it hate it.
19:22I think that and some people are really good at it.
19:25You know I'm good at doing the job.
19:26I'm not good at pitching.
19:27I get really nervous.
19:29It's so important to me.
19:30I'm so excited about it.
19:31And then it feels like you know everything is on the line which it is like she said you get that one shot.
19:36So I would say a do is to really practice you know even if you record yourself doing it or do it in front of some friends.
19:43But practice before that pitch because it is the only chance that you get.
19:47And a don't I think would be really to not practice.
19:52You know you really really I can't I can't overstate you know I'll practice for weeks ahead of time now.
19:58And it ends up making it go better.
19:59And have it written out and then make it sound like you're coming up with it as you're talking.
20:05You have to somehow know all the information and it just feel like a conversation.
20:10You can't be looking into it and then we'll do this and this.
20:13That's not interesting.
20:14You got it.
20:15They have to be engaged.
20:16It's a performance.
20:17Yeah they have to be engaged as a total performance.
20:18They have to feel your passion.
20:20And you have to remember that you're trying to get them excited about why they should do this.
20:24Instead of all the other people that they're seeing every day of the week.
20:28You know so you've got to find a way to stand out.
20:31A.V. start with the don't this time.
20:34Okay.
20:39I would say don't pander.
20:41Like I think sometimes people can be so eager to get the opportunity or get their projects made that you feel like okay I'll make this little change.
20:51Or like okay I'll do this or this is what the market is like you know leaning into whatever.
20:56I think that you should not do that.
20:58I think do stay true to yourself.
21:01Have a clear vision that you're really really passionate about.
21:04I mean as it's been expressed already.
21:06This is a really challenging role.
21:09And you're going to go through a lot of storms.
21:11And you have to be able to weather that knowing that you have a vision that you really believe in.
21:16If you're creating a show.
21:17If you're creating a film.
21:18You have to really really because that message that you want to get out.
21:22That story that you want to get out is going to be your guiding light through all of it.
21:25So do stay true to that.
21:27And don't feel like you have to water it down to fit into anybody else's rubric.
21:31Because honestly anybody who actually like achieves high levels of success with their projects.
21:36That's what they did.
21:38They didn't say like okay let me make it a little bit of everything else.
21:40Because then it's like okay well what's special about this in the first place.
21:44This doesn't even need to get made.
21:46I think you do need to be open and collaborative.
21:48Like when you're in these conversations people will ask you questions.
21:51People might present ideas if they're really great executives.
21:54And you might be like you know what I hadn't thought about that.
21:56And you can have an open conversation.
21:58And I think sometimes people can feel like there's a defense.
22:01Especially people in our community.
22:02They can assume that because somebody, the person on the other side of the screen.
22:06Or the other side of the room is a different shade.
22:08That automatically they're trying to attack me.
22:10Or they don't understand my culture.
22:12And sometimes it's not that.
22:13It's just really them trying to help you get to the source of like the tightest version of your creative.
22:18So remain open in the process.
22:20And remain in dialogue with them.
22:22So do remain open.
22:24Do remain passionate.
22:25Do remain clear in your vision.
22:26And don't change yourself for anyone.
22:30Nika.
22:31What I'll say in terms of do is you definitely need to be able to picture like main idea of your project in three sentences.
22:44If you try to test your idea in a three sentence pattern.
22:48You know this is a story about a blah blah who goes through blah blah blah.
22:51That blah blah blah.
22:52If you can't say it that quick.
22:53That means your vision is not clear enough.
22:55You got to do some deeper you know work to find the story.
22:59The heart of the story.
23:00What's the inciting incident.
23:01What's the stakes.
23:02And if you don't get that log line in three sentence clear.
23:05And you have to say a whole paragraph to get it done.
23:07It's not quite there yet.
23:08So funnel that through your vision so you can go in with that log line.
23:11That's just you could say it in three sentences.
23:13So that's one way to test how ready you are to do the pitch.
23:16In terms of don't.
23:17Please never go into a room with these executives and companies and not do research.
23:23Priceless information.
23:24Thank you all.
23:26Okay.
23:27So.
23:28I do want to talk about you know our films.
23:33Particularly you know films by people of color.
23:35Great films come out every year.
23:37Lots of buzz.
23:38Winning film festivals.
23:39But then don't get the green light.
23:41So.
23:42Question.
23:43How influential can a director be in helping a film get a green light.
23:48Billy start with you.
23:49I saw your head move.
23:50I said oh Billy got an answer.
23:52I mean.
23:53Hmm.
23:54I feel like.
23:55You're really only influential in getting the green light.
23:59If you are either a very established.
24:02Hot director with a very good track record.
24:06You know at the box office.
24:07Because then they're going to bet on you.
24:09And you can say I'm really passionate about this.
24:11It's going to be great.
24:12And then they'll go with you for that.
24:14Or.
24:15You can influence them to make it.
24:17You attach really good talent.
24:19Yeah.
24:20Yeah.
24:21Exactly.
24:22If you get that.
24:23If you happen to get that one star.
24:24Yeah.
24:25Exactly.
24:26If you got Michael B. Jordan.
24:27Then they're going to make it.
24:28They're going to make the film.
24:29Right.
24:30Even if you're.
24:31Have a good relationship.
24:32Or if you're able to go.
24:33Sell the person.
24:34You might not have that relationship.
24:35But you can.
24:36Get to that actor.
24:37And sell them on the idea.
24:38And get them excited about it.
24:40Because it is.
24:41Very hard.
24:42To get a movie made.
24:44And.
24:45It.
24:46It takes people.
24:47Years.
24:48It's very hard.
24:49To get a movie made.
24:50Even when you have.
24:51Talent.
24:52Even when it's already.
24:53Kind of set up as a studio.
24:55Even.
24:56Big directors.
24:57You'll be like.
24:58I thought.
24:59It was all cast.
25:00Yeah.
25:01Yeah.
25:02We're pushing it back.
25:03Another six.
25:04Seven months.
25:05I.
25:06I tell young filmmakers.
25:07Be working on your dream.
25:09And your movie project.
25:10But.
25:11Financially.
25:12You might want to think about.
25:14TV.
25:15Because that is what.
25:16Is going to.
25:17Feed you.
25:18Pay your bills.
25:20And.
25:21Nowadays.
25:22TV.
25:23Are.
25:24Is.
25:25They're doing quality.
25:26They're doing movies.
25:27They.
25:28They have.
25:29Movie budgets.
25:30And.
25:31It's an easier arena.
25:32To get things started.
25:33So.
25:34You have to keep.
25:35Both.
25:36Lanes.
25:37In your mind.
25:38We're going to.
25:39Let everybody line up.
25:40At this mic.
25:41If you want to.
25:42If you have a question.
25:43For the panelists.
25:44We're going to start.
25:45The Q&A session.
25:46But.
25:47Meantime.
25:48Ava.
25:49You might want to talk.
25:50A little bit about.
25:51Your journey.
25:52With a thousand and one.
25:53While we get everybody.
25:54At the mic.
25:55Oh.
25:56You know.
25:57Actually.
25:58I think.
25:59The journey.
26:00With a thousand and one.
26:01Was kind of unique.
26:02The work.
26:03Can really set the stage.
26:04For people.
26:05To pay attention.
26:06To you.
26:07When you do come.
26:08You know.
26:09Come to them.
26:10With your idea.
26:11So.
26:12I mean.
26:13I've made a bunch.
26:14Of shorts.
26:15The most recent.
26:16Short.
26:17That I made.
26:18Prior to.
26:19Beginning.
26:20Was a little bit.
26:21In that.
26:22I thought.
26:23I would take.
26:24Feathers out.
26:25To festivals.
26:26And obviously.
26:27Just meet.
26:28People there.
26:29Get more exposure.
26:30For the project.
26:31And for myself.
26:32In terms of getting.
26:33My first feature.
26:34Made.
26:35A small private.
26:36Screening.
26:37For the short.
26:38Well before.
26:39It entered.
26:40Festivals.
26:41And it was during.
26:42That screening.
26:43That a few producers.
26:44That I had met.
26:45They came out.
26:46Just to support.
26:47They'd already seen it.
26:48But they met each other.
26:49Now.
26:50Or they kind of.
26:51Co-conspirated.
26:52Together.
26:53With her.
26:54What does she want to do.
26:55So they.
26:56They approached me.
26:57And I only had.
26:58Like a little bit.
26:59Of a kernel.
27:00Of what.
27:01Eventually became.
27:02The film.
27:031001.
27:04For the screenplay.
27:05So.
27:06That was super exciting.
27:07To me.
27:08But they really came in.
27:09From the beginning.
27:10Just taking that whole.
27:11Development journey.
27:12And helping me.
27:13Find the film.
27:14And then.
27:15Focus.
27:16Came on.
27:17Focus features.
27:18Came on.
27:19To distribute the film.
27:20And so it's just been.
27:21A wonderful ride.
27:22Right.
27:23So I think that is something.
27:24To be mindful of.
27:25That.
27:26Like you know.
27:27As Sally said.
27:28And as Billy said.
27:29That it is a grind.
27:30And the.
27:31The strongest thing.
27:32That you can do.
27:33For yourself.
27:34To get people.
27:35To pay attention.
27:36Is build up.
27:37That body of work.
27:38In addition.
27:39To finding other.
27:40People.
27:41Whether it's producers.
27:42Whether it's talent.
27:43That can come on board.
27:44To help you sell.
27:45Your projects.
27:46Perfect.
27:48Okay.
27:49So we're going to start.
27:50With the first question.
27:51Is.
27:52At all.
27:53But any other question.
27:54Is pretty good.
27:55So.
27:56Let's go.
27:57All good.
27:58I'm not a director.
27:59So I have no pitches.
28:00For anybody.
28:01But.
28:03For all the information.
28:04A.V.
28:05I remember.
28:06When you used to shadow.
28:07Spike on set.
28:08As a student.
28:09And so I'm really proud of you.
28:11Saw you at Sundance.
28:12It's been great.
28:13I'm here with my mentor.
28:14Who's also a cinematographer.
28:15We're part of Local 600.
28:17And.
28:18I think my question.
28:19More so.
28:20Is.
28:21When you're.
28:22Doing the hiring process.
28:23For the people.
28:24Behind the scenes.
28:25What do you look for.
28:26As far as I'm concerned.
28:27Like a DP.
28:28And.
28:29Building the creative team.
28:30Behind your films.
28:32I'll.
28:33I'll start.
28:34Definitely.
28:35With a DP.
28:36I look.
28:37For DPs.
28:38That match my vision.
28:39And my visual storytelling style.
28:41Like I have a very.
28:42Intimate approach.
28:44Fast moving.
28:45Feels like you're close.
28:46Voyeuristic.
28:47I do a lot of verite.
28:49So I look for.
28:50The cinematographers.
28:52Who match.
28:53My actual vision.
28:54But also.
28:55Who are very innovative.
28:56In their working style.
28:57I like to.
28:58Break tradition.
28:59Like.
29:00You might see other directors.
29:01Work this way.
29:02But I work my way.
29:03When it's my set.
29:04And so.
29:05Malleable.
29:06And open.
29:07To trying things.
29:08In new.
29:09Innovative ways.
29:10And a lot of directors.
29:11You know.
29:12Choose people.
29:13That they can just.
29:14Use as hands.
29:15Like.
29:16All right.
29:17Camera one.
29:18Point this way.
29:19But I really like to use.
29:20The actual.
29:21Creativity.
29:22In my.
29:23Cinematographers.
29:24And so.
29:25Like I lay out.
29:26The blueprint.
29:27And allow them to.
29:28You know.
29:29Bring their stuff to life.
29:30So I really like people.
29:31Who are malleable.
29:32So I look for people.
29:33Who match my personality type.
29:34I love a DP.
29:35Who's my partner too.
29:36I'll.
29:37You know.
29:38I'm fast moving.
29:39I'm.
29:40I'm.
29:41I'm.
29:42I like that.
29:43As my deep.
29:44One of my favorite DPs.
29:45We go.
29:46I'll have an idea.
29:47Baby Birdie back to you.
29:48And then he gives me.
29:49Then he goes.
29:50And I'm like.
29:51Let me top that one.
29:52What if we did this?
29:53What if we did this?
29:54And.
29:55I want.
29:56Fearless.
29:57People.
29:58I'm not.
29:59Like.
30:00As a filmmaker.
30:01To try.
30:02Whatever comes into my head.
30:04And I need that person.
30:05Who doesn't go.
30:06Well.
30:07Do you think that's gonna.
30:08I want you to embrace it.
30:10And let's go for it together.
30:11So I really want a partner.
30:12And someone.
30:13I feel like.
30:14You know.
30:15We can just do this together.
30:16Yeah.
30:17Like Sally said.
30:18That's one of the most important things.
30:19And like you said.
30:20Because you're making this movie.
30:21Or TV show.
30:22With the person.
30:23Depending on the project.
30:24For me.
30:25I've worked with all different kinds of.
30:26Cinematographers.
30:27It depends on.
30:28What that project is.
30:29What we're trying to.
30:30You know.
30:31Show and tell.
30:32With that.
30:33So I look for people that.
30:34Fit what the story is.
30:35And.
30:36I'm always looking for people of color.
30:37There's so many more.
30:38DPs of color now.
30:39But.
30:40Recently.
30:41Well.
30:42I'll take too much time.
30:43Well.
30:44I was recently doing Bridgerton.
30:45In London.
30:46And.
30:47Everyone was.
30:48White.
30:49On the crew.
30:50Mostly.
30:51And.
30:52And I guess it's.
30:53They have a program.
30:54Where they were trying to.
30:55Bring up.
30:56You know.
30:57People of color.
30:58That don't normally get the chance.
30:59But none of them.
31:00Were in key positions.
31:01And so.
31:02There's this brother.
31:03Who's a cinematographer.
31:04And I looked at his work.
31:05He'd done a lot of.
31:06Commercials.
31:07And video stuff.
31:08But he hadn't done narrative.
31:09And he was in the program there.
31:11And so.
31:12I got them to let him.
31:13Shoot some of my scenes.
31:15So that he could actually have.
31:16Narratives in it.
31:17But I saw in his work.
31:18You know.
31:19Yeah.
31:20But I.
31:21But to your question.
31:22What I saw in his work.
31:23Was I saw that.
31:24You know.
31:25He was a great.
31:26Visual storyteller.
31:27You know.
31:28He made the people look beautiful.
31:29Which was important.
31:30For this show.
31:31But his lighting was interesting.
31:32You know.
31:33And.
31:34Yeah.
31:35And he did a great job.
31:36Yeah.
31:37Thanks for that.
31:38I'm going to take the next question.
31:39And I think.
31:40Is that the last question.
31:41Okay.
31:42That's the last question.
31:43Okay.
31:44Hello.
31:45My name is Caroline.
31:46We launched.
31:47An inclusive.
31:48Marketing and entertainment firm.
31:49To increase the presence.
31:50Of visibly plus humans.
31:51In entertainment and marketing.
31:53Um.
31:54So my question is.
31:56We do not see enough.
31:58Visibly plus women.
31:59Like myself.
32:00As leading ladies.
32:01In movies.
32:02Dating shows.
32:03Any of that.
32:04So I want to hear from you all.
32:06How are you increasing body diversity.
32:08In entertainment.
32:09And in terms of pitching.
32:10If you decide.
32:11Idris Elba.
32:12And me.
32:13In a movie.
32:14Was that a pitch?
32:15I said no pitching.
32:16Oh.
32:17Sorry.
32:18Don't get your mic turned off now.
32:20Okay.
32:21I'm sorry.
32:22I didn't know.
32:23I thought you said to pitch.
32:24Okay.
32:25No.
32:26No.
32:27I got an easy answer.
32:28Cause I directed Lizzo's.
32:29Watch out for the big girls.
32:30Yeah.
32:31So.
32:32There's.
32:33There's more and more.
32:34To come on that way.
32:35Let y'all go.
32:36You know.
32:37Um.
32:38No.
32:39I mean.
32:40That's actually a great point.
32:41That you bring up.
32:42Um.
32:43When I directed the gospel.
32:44Which celebrated black beauty.
32:45Uh.
32:46Or black.
32:47Women's.
32:48Beauty.
32:49That.
32:50That was something that Alicia and I.
32:51We made a point of.
32:52Cause we.
32:53So all different types of shades.
32:54Of black women.
32:55But we wanted to make sure.
32:56That you specifically.
32:57Saw the sizes as well.
32:58So there's a section called.
32:59Uh.
33:00Sweet girl.
33:01That.
33:02You know.
33:03Is it not.
33:04That.
33:05That showcases and honors that.
33:06Which is the representation.
33:07And the talent.
33:08You know.
33:09So I mean.
33:10I'm always pushing.
33:11To.
33:12Pushing hard.
33:13To see all different types of women.
33:14All different shapes and sizes.
33:15But then.
33:16You still gotta have the chops.
33:17So I think my recommendation.
33:18For anybody.
33:19Who really wants to like.
33:20Make noise in this business.
33:21Is.
33:22To make sure that.
33:23You come in the door.
33:24Looking at representing you.
33:25And loving the skin that you're in.
33:27But also bring the chops.
33:28You know what I'm saying.
33:29Like.
33:30You really gotta have talent.
33:31Because whether you're behind the camera.
33:32Or in front of it.
33:33Nobody's gonna be able to push for you.
33:35If you're not pushing yourself.
33:36And honestly.
33:37At the end of the day.
33:38It doesn't come down.
33:39To what I'm doing.
33:40It's about what you're doing.
33:41And if there are.
33:43You know.
33:44And that's a general.
33:45If you.
33:46If there seems to be.
33:47An opening.
33:48And something that's missing.
33:49In this marketplace.
33:50Then now is the time.
33:52And it's up to you.
33:53To create.
33:54What you're looking for.
33:56Because that means.
33:57Other people want it.
33:58So.
33:59It's wonderful.
34:00What you're doing.
34:01With your new venture.
34:02And that's what more of us.
34:03Have to do.
34:04Worry about.
34:05You know.
34:06How.
34:07How you're gonna make the change.
34:08And how you're gonna make the change.
34:09And right now.
34:10We are gonna have to make a change.
34:11And close this session out.
34:13I wanna say one thing.
34:14Real quick.
34:15I'm hiring.
34:16Director's assistant.
34:17I'm hiring.
34:18Associate producer.
34:19So just write this email down.
34:20Real quick.
34:21N-N-E-K-A-L-O.
34:24At gmail.com.
34:26Please email me your resumes.
34:27If it's applicable to you.
34:29Sometimes people send resumes.
34:31That don't pertain to what they have.
34:33So just.
34:34If you have any experience.
34:36In those areas.
34:37Associate producing.
34:38Or wanting to be a director's assistant.
34:40Or you have assisted directors before.
34:42Please email me.
34:43Because I'm hiring.
34:44Say it again.
34:45Say the thing real quick.
34:46If you have.
34:47Oh my name.
34:48Okay.
34:49E-K-A-L-O.
34:52At gmail.com.
34:53I hope you wrote it down.
34:54I have three films.
34:55I'm hiring on.
34:56So please.
34:57Send me your info.
34:58Okay.
34:59Oh.
35:00Okay.
35:01One more thing.
35:02Real quick.
35:03Okay.
35:04Y'all just gonna keep it going.
35:051001.
35:06Yes.
35:07March 31st.
35:08Only in theaters.
35:09Yes.
35:10Congratulations.
35:11Please support.
35:13Tiana Taylor does an amazing job.
35:14Please come check it out.
35:17Please give them a hand.
35:25Behind every amazing black woman is a group chat of equally phenomenal women cheering her on as she climbs.
35:32Striving for the top is so much sweeter when you have your girls standing by your side.
35:37Because sisterhood is the real magic.
35:39This is the real magic.
35:40This is the real magic.
35:41This is the real magic.
35:42This is the real magic.
35:43This is the real magic.
35:44This is the real magic.
35:45This is the real magic.
35:46This is the real magic.
35:47This is the real magic.
35:48This is the real magic.
35:49This is the real magic.
35:50This is the real magic.
35:51This is the real magic.
35:52This is the real magic.
35:53This is the real magic.
35:54This is the real magic.
35:55This is the real magic.
35:56This is the real magic.
35:57This is the real magic.
35:58This is the real magic.
35:59This is the real magic.
36:00This is the real magic.
36:01This is the real magic.
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