Creative State | Children of the Setting Sun Episode #5

In this episode, screenwriter Noelani Auguston and Director Jordan Riber from Children of the Setting Sun Productions discuss filming the pilot of their series ‘Canoe Journey’,  the importance of financial literacy, how to be in demand as a screenwriter, the Indigenous Filmmaking World - 

And my favorite: 

How to raise money by first asking 'What does the universe need?'

So much good advice in here. Listen, grow, repeat. 

© 2023 Moment Film Co, LLC

Transcript

0:03

Just when you thought it was safe to boogie in the streets. Along comes creative state at the intersection of art and business. I'm here with two people. I'm really excited about Noelani Augustine and Jordan. Reiber. Reiber from children of the setting sun productions. In this episode, we chat about wrapping up the pilot of their series, canoe journey. The importance of financial literacy. how to be in demand as a screenwriter. The indigenous filmmaking world. And my favorite, how to raise money by first asking. What does the universe need? But first a word from our sponsor creator deals. If there's one thing, all of us creators need out there to do battle in the creative economy. It's the tools for success, and that's why we've partnered with creator deals.com. The number one destination, to discover the best deals. Out there from Adobe creative suite to the best desk chairs, to all the goodies, we need to make the good stuff. So we can put a dent in the universe, check out creator deals.com, empowering creators everywhere. And now let's get busy.

Chris: 1:23

Hey, I thought I'd start at the top with, children of the setting sun in, in general. You know,, I did a fly by your website. I was really intrigued by some of the language. You talk about how Mother Earth is sacred and suffering, and how children of the setting son want to be part of the healing process for her. Where does that, where does that inspiration and, and initiative come from? Because I think that's part of what attracted me to the both of you

Noelani: 1:53

I know with our founder and, owner Daryl Hiller, he's a LA Nation tribal member. Um, one of his ancestors, asked. His, his children and descendants, to keep my fires burning. And that means keep telling our stories. This was a storyteller, ancestor and their family. So Darrell was like, we need to tell our stories and everything about indigenous value systems is about like stewardship in our relationship to the earth. Um, and so through our storytelling, it just naturally, you know, coming from our value system, it's all about advocacy for, um, mother Nature and, um, kind of, I guess educating the general public and, you know, different providers and audiences about like the, the value system and the relationships that native people have with the earth and using those stories and value systems. In order to educate the viewers. So the call to heal Mother Earth has come from this, this ancient ideology of, stewardship to the land. And so as filmmakers, we're just trying to document those stories within indigenous communities in order to address certain issues, climate, crisis issues, um, and other, I guess, environmental issues we're facing today.

Chris: 3:20

It's so interesting because obviously these stories were oral stories, oral histories that were passed down from generation to generation, and now there's the power of film that can help compliment that and potentially even amplify that. Um, talk to me a little bit about where that love of film came from and what that's where, where you found that inspiration, um, to become filmmakers.

Noelani: 3:48

Jordan, I'll let you leave this one. Since he, I'm kind of learning a lot from him as a filmmaker. He's kind of been a really strong mentor to me, so I'll kind of let him lead that and then bounce my thoughts after.

Jordan: 4:00

Sounds good. Yeah, I, uh, so my love of filmmaking, I, I think, you know, I, my parents are filmmakers, so I grew up in, uh, filmmaking household, you know, um, and I became aware of the process at a very early age. Um, I was always surround, you know, every dinner conversation. My mom is a producer, my dad is a producer. Um, On a lot of, a lot of kind of feature projects and a lot of projects. And so our dinner conversations would always be, you know, problem solving questions of the day. And so, you know, my mom had a steam deck edit, she's also an editor, so she had a steam deck mm-hmm. In our living room, you know, sure. Listen to my bedroom and it would keep me up at night. Um, and so I kind of really got fascinated by the process of, of filmmaking by watching her cut. You know, like I'm hear her cut, cuz it was, it's a very loud and so watching that process, I kind of began, began, began to understand it, I guess. And I got into, you know, helping them out in their office, um, when I got into high school and then eventually studying film university and then working with them after I graduated. And so it just all felt like a natural kind of thing so, but I mean, I guess to the point of, you know, translation of these traditional oral stories and, and a kind of a more traditional approach to storytelling into this modern concept of film, you know, and the technology around it. Um, I mean, I think that film, you know, stories have always been meant to educate. You know, there, there're, I, I grew up in Africa, which is an, you know, it was full of oral cultures and storytelling is, is central to, um, the cultures there. And every, every story has a, has a, has a moral over there. Um, not only does it have a moral, but it's wildly entertaining too, and vivid use of imagination and, and, and all of that really super entertaining.

Chris: 6:12

Do you remember the first story that really blew your mind do you remember that one?

Jordan: 6:19

I mean, I th I think I always kind of think about Apocalypse Now. Oh,

Chris: 6:24

as a mean, that's my favorite film, right? Is it?

Jordan: 6:27

Yeah. Yeah. I mean, as, as a kind of first experience of, of an independent director's vision coming to life. Um, and I'm, I'm just always taken by the, the sort of freedom and imagination that he used in, in all his directorial decisions. So I, it was always a magical experience for me. And, you know, and I, I mean, I feel in, in, in terms of it being a moral tale, you know, all, all war stories or all good World War stories are at heart.

Noelani: 6:59

I'll go into like what brought me to film and then into like the, my, the movie that kind of just blew my mind away. But like me, uh, filmmaking was never a part of the pathway. Like I am a first generation college student. Um, and so I didn't really have the direction I needed, but I knew I wrote poetry and I wrote and I journaled and I just was always had this like, Gift for writing and, and putting things up. You were making stuff? Yeah, I was, I was making stuff and so I was just, I've, I've always been a movie buff and like, it came when I was in college, I was just like, man, you really, I started to understand like we, we really don't see this authentic representation of indigenous people within, you know, the mainstream kind of media we consume. And so I was like, I'm gonna apply to this writing program. I've got these stories to tell, um, let's, let's see where an MFA and screenwriting will take me. And it kind of just led to, you know, this filmmaking world. And, um, where did you do this? Um, at the Institute of American Indian Arts in Santa Fe. Okay. Um, yeah, so at the heart of like, why I was drawn to film was just advocacy and like telling our stories from an authentic lens and from an authentic voice. And so I just kind of. Followed that direction and um, yeah, it led me to setting Sun. But like, I think the first time I was like, I was in middle school when I saw a whale rider. Yeah. Um, and that was probably the first film. I was like, holy shit, this is different. Like yeah. I mean they, they really like, just with the talent describes you, it, it's just such a beautiful story. And then it got me thinking like, how the hell did they film all that? So it's Right. It's just, yeah. So I think when thinking of that question, that was like the first film that I think impacted me at, you know, at an age I could actually like try and cognitively be like, what is this film? So yeah. That was the film.

Chris: 9:04

Those are two sort of really opposing and yet very similar films. Right. Apocalypse Now and well writer, but both very successful at just making you feel like the raw emotion mm-hmm. Of. Just being there. Noelani. When you started to, um, sort of go down the path of filmmaking and screenwriting, you said you were the first generation, to go to higher education, I guess is the way you put it. How was that received by, by your parents, by your family that you wanted to be a, a screenwriter? Were were they supportive or they were, were they like, what are you doing? This is not, this is because I know it was probably not a very traditional path. Mm-hmm.

Noelani: 9:49

Yeah. I think it's, it's, it's a little bit. Scary. It's, it's a riskier path. I mean, it's hard to find success as a writer or screenwriter and let alone get like a full-time paying job in an, in a production company. And so I had like love and support and like, oh, follow your dreams, it's gonna be there. Um, but like home, you know, will always be here and home will always like accept you back kind of thing. Sure. So I support, but like in terms of like the, the planning support, like in, oh, you need to do this to kind of get these requi requirements done. You need like the financial literacy kind of direction. I never had. Um, so I mean I had like love and support and people who believed in me, but like in terms of like having somebody to guide me through the planning and through the process of applications and like all of that, like technical stuff within academia, I had no support

Chris: 10:48

on. So no real mentors at all?

Noelani: 10:52

Yeah. Like from, yeah, when I, uh, left col, like left high school, it was, it was me and I was kind of in the wild, um, trying to figure it out.

Chris: 11:02

Um, and how did you figure it out? What, who did you lean on? I mean, what h I mean it's obviously financial literacy is such a interesting thing unto, unto itself, cuz I think a lot of creative people pretend that financial literacy isn't needed when in fact it really is. Yeah. How did, how, how did you come to terms with, I mean, how, yeah, how did you find your way? Cause I think that's so fascinating as, as a creator.

Noelani: 11:27

I think just like trial and error, um, I was really motivated to like, know what I didn't know. So like, finding sources of funding. Um, I would really, so like I went to the University of Washington, Seattle for my undergraduate degree. And this is a huge, predominantly like white and Asian. Demographic of students and Sure. Native people, I think made less than 1.01% of the student population. So what got me through all of those details, honestly, uh, like, uh, um, the, uh, office of Minority Affairs and Diversity, like tutoring centers, um, like workshops. They have an ethnic cultural center, um, that just, you know, invited students to these different, I guess, lessons and engagements that kind of helped us navigate, um, that system. And so that's, that's where all that support came from, was from like finding an, a community within the institution that was really supportive. And, and typically a lot of public institutions have those these days, you know, like an office of mm-hmm. Minority Affairs and Diversity. And so that's kind of where I, where I found the support there.

Chris: 12:46

Yeah. That's something really that should be underscored is I know that I went through college and did not take advantage of those various resources you're talking about. Mm-hmm. And yet they're there if you just do a little bit of digging and a little bit of exploring and looking around corners and sort of sleuthing you can find out. And they're, people want to help you succeed. Yeah. And once you graduate from college, that's not necessarily the case. So it, it, you know. Good, good on you for, good on you for leaning into that. Jordan, what about you? I mean, obviously you came from an artistic family, people who are already sort of bought into film as a career, but did you meet any resistance or have to overcome any self-doubt as you sort of pursued the path? I mean, tell me a little bit about that journey for yourself.

Jordan: 13:36

You know, finding your, your, your place in the film business was some, you know, was something that I was, that I struggled with. I guess. I, you know, I, like, it wasn't hard for me to just bes, you know, kind of immerse myself in it just because that's so how it was. Yeah. Um, but like, you know, I start, I started off as a musician and really, you know, wanted, that's kind of the road that I wanted to go down and I got, so I sort of ended up getting into the film business through a lot of audio work actually. Mm-hmm.

Chris: 14:11

Do you remember your first paying gig as a filmmaker or even in the film business? Yeah. You know,

Jordan: 14:18

I mean, I think that, yeah, I did, I did some stuff during college. I. You know, I think I covered a couple events, but it was really when I got to, when I left college and I got to, I went back home that I started working, you know, um, at that point we basically, my family left Zimbabwe and we moved to Tanzania, which is a totally different country, far from not, not very similar to Zimbabwe in a lot of ways, Uhhuh. Um, and we didn't know anyone there, so it was, you know, there was a lot of challenge challenges there collectively, us as a family getting back into the business together, you know, and my parents were, were, were kind of at, kind of at a stage in their careers where they had done a bunch of features and they had, they had kind of, they'd started doing a lot more radio work actually. Um, so we had to work ourselves back into this community. Um, and I guess, you know, if there's some. If there's some sort of advice to be, to be learned from someone like me, it's really, I guess to, to make yourself useful for, for a community, you know, that, that that exists. Um, with, with practical applications, you know, I think a lot of young people come into the film industry sort of like, I'm gonna be the, the director, you know, I'm gonna direct my, which is great, you know, I mean, I think all power to you if, if you can actually do that, and some people do, but I think, you know, um, making yourself useful to, to, to people who, who are already working is one real great way to get into the business. Right? I mean, so our story in Tanzania was that basically we, we got into the film business there by doing a lot of dubbing into Swahili from English. So we'd take English films, And dubbed them into Swahili super practical because it's cheap to do. It's basic, you know, it's, it's, it's serves the pur purpose of a film a a well film. Um, and so, and once you get in and once you

Chris: 16:22

get in that, that sort of process, those films are gonna keep coming in. I imagine that was, that was fairly consistent work. Is that true?

Jordan: 16:29

Yeah, it was consistent and then, you know, but I think what it did is it just grew our network. You know, we served a practical purchase, right? We grew our professional network and we did a lot of radio work too, you know, which is, which is, which is great. Fantastic work, you know, um, a lot of radio drama and worked, worked ourselves towards our film. So, you know, it was, it was, it was a step-by-step process. There was a lot of resistance along the way. But I think that, you know, like I'd say that making yourself useful, um, to a bigger, the broader community of filmmakers is, is, is the first practical step and. And yeah, I definitely went through that.

Chris: 17:07

Yeah. That's interesting cuz the first, my first podcast was with, uh, a gentleman here in town by the name of Gary Washington, who runs the horror festival, bleeding ham. Mm-hmm. And he said something very similar, you know, the, he said that the, the question you should be asking is when you're starting out is, how can I help? Yeah. And, and really just leaning into that and, and, and offering your assistance across just every facet of the business. And you also said something interesting. You were, you know, you were doing the translating into Swahili. You were doing radio work, you were doing film work, you were doing lots of different things to really sustain yourself within the creative economy, which I found I find fascinating and is often necessary for all of us to do it one time or another.

Jordan: 17:51

yeah. And then kinda keeping your eye on the prize, you know, like we always knew that we wanted to produce. A series, a TV series in Tanzania. You know, we, we, we knew that we wanted, and, and that's, that's kind of, we, we, we always had our eye on that prize and eventually it, it happened and then it, so tell me about

Chris: 18:07

that. So tell me about how that led to this television series in Tanzania.

Jordan: 18:13

Well, I mean, so producing radio drama, we, we, you know, a lot in, in Tanzania, the, the most people have radios there. You know, mo a lot of people don't have TVs or access to any kind of visual medium. So, you know, when you, when someone wants to communicate to people, they generally think about, you know, communicating through radio. So we, you know, our experience, um, or my parents' experience in the past had been in developing these narrative stories, right? These scripted narrative stories in universes. And they'd done a bit of radio work, um, in Zimbabwe and we took that forward with us and developed these, these radio dramas that we basically knew that eventually we'd want to pitch them. To, to the people as like, as, as a series or a film or something, you know? Bit. So when you,

Chris: 19:02

when you say developed, you're talking about you had the idea, you started writing these things. Yeah. You then went out and cast them to voice talent. You then went out and produced them, and then you went out and distributed them. So you were, you were Yep. Doing all facets of that part of the business. Is that true?

Jordan: 19:21

Yeah, yeah, yeah. Yeah. Yep. End to end, you know, I mean, and I think it was generally, it was generally kind of client-based work, I guess client-based work. You know, we were working, uh, for communications initiatives around global health issues. You know, gender, gender rights issues, um, governance issues, you know, all sorts of different kind of social questions. Mm-hmm. Um, but we wanted, you know, we, our thing was that we did it in an entertaining way. So we developed these universes of characters that. Interacted with each other and, and, and pushed forward messaging around these, these issues and sort of tried to, tried to, uh, just elevate the dialogue around them in society. And, and so, you know, eventually we, you know, these, these, these dramas got really successful and we, we turned them into TV shows. And, and at that stage, you know, it was great because we just had a platform, you know, and Right. And, and each part of the platform supported the other one. And it just was really, was really successful in, in, in achieving what it meant to, what it meant to achieve, which was to, you know, get out to people, allow people to engage with these issues on, in a fun way that, that they can, you know, and in a way that they can kind of talk about these sometimes very sensitive issues. You know, H I V aids is something that people generally like, it's not like a topic that's comfortable to talk about, especially in a country that. That where it's a real issue, you know? Um, so finding kind of stories that help support discussion around those. Yeah. Going back

Chris: 21:04

to the moral storytelling that Noelani was talking about earlier with earlier with the Lummi tribe and, and having stories that really had meaning behind them, I think is, is really interesting and, and a great approach. Noelani. Tell me a little bit about, um, how you got involved with children of the setting Sun and then this project that you embarked on with Jordan, um, called Canoe Journey.

Noelani: 21:30

Yeah, unmute myself. Um, so yeah, I, so in 2018 I started, uh, the process of getting my m f A in screenwriting and around that time, so it was, it was by 2020 we were kind of going into the pandemic. I was also in my final year of that program and. It was a, in my, in my professional role, I was working at the Northwest Indian College at the time, and we were moving into this like, remote world and we had to bring on a production company to help kind of produce and create our first virtual commencement ceremony. And so Daryl Haler and the crew came and I was kind of the liaison and the planner on the college side helping arrange these interviews and, you know, getting the, the, the place to film at for this commencement. And, um, Darrell and I just started talking and he, he learned I was, you know, finishing up my, my program and he was like, wait, you're a screenwriter. And from then on it was like I was getting, he was recruiting me for, I think I finally came on. In, uh, 2022, February, but he was recruiting me starting in 2020, you know, to just come on board. We need native writers. Um, and I

Chris: 22:50

just So you were that, you were that one screenwriter who was actively being recruited out of college. I love it. Yeah. You're the one

Noelani: 22:58

I know and I didn't realize how like lucky and rare that is to just kind of have work, like literally beg you to come on and, um,

Chris: 23:07

oh, how great that is. Most excellent. Yeah. And

Noelani: 23:09

then it was when, um, so I, what finally got me on board was, uh, my cousin, younger cousin was in the company working with Jordan in the Canoe Journey writer's room. And she was like, Hey, cause you know, we've got this story, we've got a script. It's not there yet. We need a native writer on it. Um, please just give it a read and tell us what you think. And then I think coming from my cousin, somebody I know and trusted, like her advocating and like begging me to come on, I was like, all right, I'll, I'll at least give it a try. And that was the start of it. I read it and, you know, kind of gave my thoughts and feedback and they were like, well, can you do a rewrite really quick? And just kind of make it more true to place and to, to this culture and people. And, um, yeah, I was, I, I came on board full-time after that, so that's how I got into setting Sun.

Chris: 24:03

What a great story. And I love that part. Hey, can you do a rewrite really quick? I love that.

Noelani: 24:09

I think I, it was a pretty quick turnaround too. I think you guys gave it to me and then like within a week or two, we like came back. And looked at what we had. And that is great. I mean, I mean, the bones were there. Um, Andrew Whaley, yeah. Another friend of, um, Jordan. And, you know, that writer's room, they had really had a, a solid, a solid, uh, a solid start. So it was, it was easy to go back and go onto the page.

Chris: 24:35

Oh, that's great. That's great. So how did the idea of Canoe journey come about? Jordan? It sounds like you were on board before Niani was.

Jordan: 24:46

Yeah. Um, well, I mean, I, you know, so I moved back to the States, uh, well, back to the States. Uh, I was here for college about four years ago. Mm-hmm. And, you know, I, I guess I didn't really get into that. When I was talking about challenges, you know, because I, I basically had to reinvent myself as a, as a filmmaker coming to the States, it's a completely different place. Right. Couldn't be more different than Tanzania. Um, and so I got, you know, I, I, I got a lot of work, you know, how can I be helpful, you know, that was my question. And how can I grow my network, LinkedIn, you know, boom, boom, just all over the place. Yeah. Um, driving down to Seattle for work and up, you know, just all over the place for work. Um, and eventually I met Darryl Hilaire here in Bellingham. Yes. He was, you know, he was, just needed an edit. Uh, you know, he needed an editor to help him with the video that he has. He was working on, after the tribal journey's, um, paddle to Lumi and mm-hmm. Back in 2019. And so I, I, I was there. I was like, yeah, you know, he talked, he talked about his mission, about his, you know, the, and I was fully on board. It was. No-brainer. Um, I, you know, I'm, I'm not a documentary filmmaker or I, I mean, I guess I am, but I wasn't a documentary filmmaker. Um, in the past. I, um, I've always been a scripted, kind of driven person, right. And so I guess I always knowing, like, like talking to Daryl the first time, I was like, what? You know, I think, I think he might be interested in, in what, what, what we've done in my, and in my approach to film, to filmmaking, storytelling. Mm-hmm. Um,

Chris: 26:36

this is the work that you've done in Tanzania that you thought Yeah.

Jordan: 26:38

Yeah. TV series. Yeah. Yeah. And so, you know, I guess I just slowly worked my way towards, you know, just helping, helping out and, and, and working on, on other projects as well, um, documentary projects with Darrell, and then eventually working our way towards the ability to, to, to try a pilot out, you know, um, And there was an, there was an opportunity to do so to, to kind of address this issue of, of youth and mental health, um, in Cosalish communities. Um, and to address some of the challenges, I guess, that kids face, you know? Mm-hmm. And Darryl was like, cool, let's do it. You know? And so we engaged Andrew, who's, who's a, who's a, a writer friend of mine from South Africa, who's worked all across the world in a lot of variety of different cultures, just helping to facilitate storytelling processes. Um, and we brought, um, the youth that work at Children of the Setting Sun into the room together. And we just sat at the table and, and kind of started jamming around, you know, how, what's this story gonna look like? And it, and, and, um, The, the Canoe Journey Tribal Journeys is this huge event that happens annually here along the coast. Um, and, and up the rivers too, where tribes get together. Um, they paddle canoes towards a, like a host tribe. And over the course of about two weeks, you know, of, of journeying, end up at the host tribe. And it's all about celebration of culture sharing of, of, of culture and sharing of each other. Um, and so we thought that that was a great kind of universe because it's such a hopeful universe. Um, a hopeful event, um, full of just, you know, it's, it's where. It, it's kind of definitive of this cultural revitalization that's happening right now across tribal communities. And, um, and so we thought, you know, that what a great, what a great universe for a, for a drama.

Noelani: 28:56

So in, in my program, uh, my. Manuscript was this a feature length, um, superhero story that derives from our, our legends here on the, in the Salish coast. And so I definitely came into the project like with very little experience in TV writing, although much like academic training, you know, like, oh, this is kind of how it does, you just never solve your main protagonist by the, you never, your, your protagonist doesn't transform or, you know, kind of like come to knowing until towards the end of a season rather than, you know, the middle film and kind of getting spacing and, um, pattern out was different. And just I think with, um, Andrew and Jordan and kind of like being led and kind of mentored by these guys helped kind of lay out what, you know, a pilot episode looks like. But also, you know, the, the, the whole season isn't quite written yet, but we do have it. It outlined in, in. Mm-hmm. And, um, we kind of know where it's going to go. Um, nice. But I mean, that's, that's where we are. It's going to be, it's, it's the first in what we hope is a 10 part series. Um, and it's looking more like a dramatic kind of narrative. Jordan was the one who was like, Hey, let's try and, you know, teach and relay these messages in through this dramatic narrative form, which I think is even more. Influential because our kids are watching dramas. They're watching, right. You know, dramatic series. And so I think just in addressing this special audience and like a dramatic narrative you bring into your home and you're kind of, you know, led into these people's lives. Like they let you into their home. And so I think that was, it was really cool to just kind of like serendipitously be brought into this thing and all these forces coming together to kind of take setting sun to where it went on that.

Chris: 30:58

Tell me a little bit about how many shoot days Was it, you know, and is, are you done shooting the, the pilot, is there still some pickup days or is it, is it wrapped in, in the can right

Jordan: 31:06

now? Well, we had, uh, we've shot nine days. Um, and it was all, you know, back to that back is back in September. Mm-hmm. Early September. We, we shot, um, and we got one more day to shoot. But it's, uh, just a little, so, no, it's going, it's going really well. I mean, you know, we, we have a rough cut now and, and we know what we're missing and, you know, it's, yeah, it's, it's, it's looking good. We're mainly doing kind of environmental stuff. Nice. You know, trying to fill out transitions

Chris: 31:41

and Yeah. Things of that nature. Yeah. Yeah. So when you said you, you shot nine days and now you have a, a, a pickup day. I know it's fairly usual to have a pickup day based on what you see in the editing room. Is that the same thing that happened here? You were just like, oh, right. We need to shoot this.

Jordan: 32:00

Yeah, I mean, it ba became quite clear that one of the weaknesses and, you know, it's, it's, it's something that you think about, well, that we've sort of figured would happen. One of the, one of the weaknesses was that we just didn't have enough, like, Of the world, you know? Right. The world outside the character. So we got, you know, we scheduled for, for actors time. Yeah. And, um, you know, obviously shooting scenic shots is pretty easy. We just all need small crew and Sure. So we didn't really focus on doing that, um, as much what, while we were, while we were filming with the bigger crew. Right. Um, yeah. Well when you're over the,

Chris: 32:36

you got, you got nine days to shoot, you're gonna get what you need and they can is the best. Yeah. Worry about some of the pickup shots later. For sure. I mean, I think that's pretty not unusual. Let me just say that. Um, yeah. And so now, so now it's in the can. How, what advice would you give filmmakers as it relates to going out and finding potential funding for, for films like this? Is there any advice that you have around that? I mean, part of it is just, I know, sheer persistence and, and, and being able to share your vision in a way that's very, you know, obviously speaks to people. Do you have anything more to add to that?

Jordan: 33:18

Yeah. I mean, I think that people often start with their idea, um, which I guess, you know, maybe I learned, learned that this from my dad, but it's, it's like I, I've never really started with, with my idea. It's, it's more about sort of thinking about what's needed out there, you know? Um, Because then you're setting yourself up for, for success because where there's need, there's generally some funding and work happening around that. Right. And so, um, I think it's just finding really interesting intersections of mm-hmm. Of, of need and, and story. Mm-hmm. And kind of, kind of going at, at that. Um, and of course, you know, when you say need, it could be a, a variety of different stuff. I, you know, I'm, it's pretty clear now that I'm not like an entertainment for entertainment's sake kind of a person. But I, I'm definitely into entertainment and, and into like good art, you know? And I think that in, in a lot of the, the kind of educational or, you know, social messaging world, I. There's, they're starving for better art, better production, you know, people. And, and, and there's a need for communications that a lot of, that, a lot of, um, educators don't kind of understand or even, you know, so I guess making yourself available, you know, looking for the right types of intersections and then making yourself available to them, um, might be the best advice I can, I can give. Yeah. That's

Chris: 35:02

interesting. You know, I'm, I've sort of, I'm a marketer at heart, and so mm-hmm. Part of the marketing sort of onus is like, what, you know, what is your audience? What do they need? What do they, how do you, how are you solving a problem for them? You know, you're saying you don't tell, you're not telling your own story. You're out. You're going out and saying, you know what? There's a need out here. I'm gonna help address that need through storytelling. And obviously you have to be passionate about that as well. I mean, there's, it's, it's not only the need and the storytelling, but it's also the passion that the two of you brought to the project. Um, yeah, I think that's a fascinating way of approaching it because I do think a lot of people who are writers just think, I've got this great idea, it's gonna take place in the future and it's gonna, you know, have, you know, gigantic worm. But how does it actually, what, what is it addressing today that, that, that, that needs addressing? No, Alani, did you have anything to add to that from a storytelling perspective or,

Noelani: 35:59

yeah, I was just going back to like the fundraising thing and like, what's needed out there is like knowing like what's going on in society, what's, what's happening in pop culture, what's going on in this subculture, your regional culture. Um, but in looking for those intersections, so with like educational stuff, there's a lot of like environmental and social philanthropies that are like looking to, to. Just give their money away, um, to, to filmmakers who are doing something with intention. And I, one thing is like, oh, you can have a great elevator pitch, but what do you have to bring these people when you are trying to get their money? You need to have like a plan, not just your, your two minute elevator pitch or whatever. What's your justification? What are the goals of the project? How do they align with this Phil, Phil Philanthropy's mission? Um, and then like, what are your goals and outcomes? And so I think that's something we, as a nonprofit making media company, is we're always like, okay, let's, let's get a one pager or, you know, Jordan's assigning, like, let's get a one pager on the justification for this. We need, you know, what a potential production plan can look like for this. And so it's like you can have the big idea in, in a really solid elevator pitch, but what are you gonna bring them to show like you're not just. You know, gonna, gonna waste their money and whatnot. So I think that's a really big part in preparation and fundraising, is really having all your, you know, ducks on our

Chris: 37:31

own. Yeah. Yeah. How will this make a change? Right? How will this make an impact? I think that's really important for people to understand. So to have that spelled out to the best of your ability is, is, is, is a brilliant approach. Um, where is the project now and where, what do you sort of see as the next step as it relates to, to

Jordan: 37:49

canoe journey? Do you wanna go? Okay. Um, so we are just, you know, we, we have some work to do to finish up the pilot. Um, we don't wanna show it to anyone too early. I think that that's a mistake. Yep. Um, so we wanna really just polish it up and, and make it what it is. Um, we have, uh, We have spoken to a few agents, kind of distribution agents, just prepping them for like, this is gonna happen and this is coming through, and just trying to build relationships, you know, that's, that's obviously key to everything, any success that you have in a hundred percent. Yeah. Especially this one, like just relationships. Yep. Meet as many people in that world as possible. And, and you know, I think, um, in the indigenous, um, filmmaking world, like, it's a pretty small community too, you know? So, um, we're really looking to indigenous producers, um, and writers and, and, and directors, you know, moving into the future with the project and really engaging that community, um, in, you know, and, and, and, and kind of growing ourselves that way. Mm-hmm. Nice. So, Yeah, I mean, I think that, you know, in the second half of this year we're gonna be, although, you know, the, the, the, the timeline is kind of depends on a few things, but I feel like the second half is we're really gonna be pushing hard, um, to, to bring screening together and, you know, figure out what the next steps are or, but ideal it would be just be picked up by, by a network and, and we'd run with it.

Chris: 39:33

Well done to both of you. Um, what's sort of, Do you have any favorite movies or shows or books that are sort of lighting your fire right now?

Noelani: 39:43

I have such a big watch list. I'm like, I, I can't get to everything, but I, I mean, it's kind of really taking over, uh, the country right now. But reservation dogs, if you're a native writer, you're watching it. Um, I went to school with some of the guys and um, you know, one of the writers on the crew was, was my instructor at the Institute of American Indian Arts. And it's just really like, cuz they're doing something that hasn't been, been done before. So it's really just cool to see the way it plays out. And, um, I'm also, what am I watching? Uh, Kindred was one of my favorite books in college by Octavia Butler, and they've got a new series out on Hulu. Um, and it's, it's like really great if you like, historical stuff of like, you know, nice jump date, chi time jumping kind of thing. They do it really well.

Jordan: 40:38

I I just really love, um, films and shows that have a. An interesting tone and, um, and, and tell an interesting story. I mean, the one that kind of pops into my mind immediately is severance, you know, which is an Apple plus. Yeah, totally. I just thought that was kind of really interesting and cool. So different, right? Yeah, different. Imagine if I love the way that it was shot and, you know, concept super powerful, really cool. Um, and then I, I, you know, yeah, there's, there's a bunch. I, yeah, I could.

Chris: 41:16

Good. Yeah. Well, I'm glad we have a, an affinity for Apocalypse Now, and I don't know if you've seen the, uh, documentary, you probably have Heart of Darkness, but if, yeah. That is just an amazing sort of, Tail of the making of Apocalypse Now, which is terrifying and inspiring all at the same time.

Jordan: 41:35

Yeah, yeah, I know. I love that. It's awesome.

Chris: 41:37

Any, uh, last, I've got two more questions. This question is, is my, what I call the martini shot. Um, any, any pieces of advice to give to, not just filmmakers, but any artist out there who's like wanting to enter and do what they love while at the same time making a living n Noelani, do you have any words of wisdom for, for people out there? I mean, you, you, I really admire you because you said, I'm gonna become a script writer. You went into school, got your mfa, and then here you are. You know, you've just, you've, you've got a, you've got a pilot that's in the can. I think that's just unbelievable. Um, so yeah, what are your words, words of wisdom around that?

Noelani: 42:27

I guess what I would want like people to leave with is like if you have a vision for yourself or an idea or a calling, like something is gravitating you towards this idea or this path, you have to dive in. You have to try to master that game, right? You have to try and master that focus and become the best at it and just like show your, a valuable asset in this world that needs more indigenous writers. And so that's why I was just like, dive in, know the game. Like there's so many elements in the film world, so many roles. What can I dial in on that is really focused and like master that game and and just kind of run with it. And so that was my approach, like just. You know, don't try and wear many hats. Don't try and do it all. Like, that's, that's hard. And it's, it's really bad on your mental health and your, the longevity of your life. And so like, focus in on something, become good at it. Learn, learn, you know, learn the field and run with it. So, yeah.

Chris: 43:41

I love it. Jordan, what would you say?

Jordan: 43:45

Um, I'd say, boy, I'd say do one thing every day that's gonna get you towards your goal. One thing every day. You know, you can do more than one, but do at least one, one thing I'd say, you know, it's really doesn't, I can't say enough how, how powerful it is to actually finish something and deliver it, you know, I, I think a lot of people just get caught up in, in all the insecurities and stuff about actually, you know, getting through and finishing something. It doesn't need to be huge. It could just be a. The most simple little thing, but you know, you'd be surprised with the impact that, that an actual finished piece will do. Like, I, I did this and now I'm a filmmaker. Right. And people look at you in a different way. Um, I'd say build, build a community, you know, for sure you need that. What's

Chris: 44:44

your advice about building a community?

Jordan: 44:49

I'd say you, you know, you gotta be the one pushing forward, you know? I mean, I, I think, uh, people kind of expect community to come to them sometimes. Yeah. Or like, they put themselves in a, in a filmmaking city. And imagine. And just figured that I think that you really, you know, if your, if your goal is to become a filmmaker, you should, and the one thing you need to do every day is meet one person. Yeah. That's, that's a potential member of that community. Um. You know, I guess in when I got to the States, I just, I got on LinkedIn, I just called messaged every, everyone and anyone. It was, you know, one outta a hundred. I actually got, I actually got to meet them face to face. Fine. You know, I I more LinkedIn messages all the time nowadays cause I'm busy ESL too. Yeah. But, uh, but you know, I think just being kind of proactive about, about that, building a community in any way you can, I mean, going to these mixers and, you know, any little events that, that there might be, um, is always good. And having coffee with people, a hundred percent being nervous about just,

Chris: 45:57

and, and also realizing that every no that you hear. Gets you one step closer to a potential. Yes.

Jordan: 46:05

You know,

Chris: 46:06

and I think people are so afraid of hearing that word No. That they, but if you reframe it and just realize, oh, okay, I just gotta, no, that brings me closer to the eventual Yes. I think that's a much healthier way of looking at it. Yeah.

Jordan: 46:20

Um, I mean, I'd say like Neil, Neil Young released like a hundred albums in his career, and like, more than half of them are total crap. But I mean,

Chris: 46:32

what is it? Trans, the electrical one. Yeah. That was just the, the Yeah. But I mean, you know, there's, but then there's 10 absolute gems, right? I mean, yeah. So

Jordan: 46:43

don't be afraid of, of failing, I suppose.

Chris: 46:46

Progress, not perfection. You were sort of talking about that. Do one thing, get it to get better at your craft every day. You know, it's the 1% rule. You're gonna look back a hundred days from now and go, wow, I just got that much. I got a hundred percent better. You know, just cuz I did this little piece. I think that's, that's so powerful. So at the end of every podcast, we ask you a question from our previous podcast guest. Oh. And our previous podcast guest was a woman by the name of Bailey Sinner and she is a documentary director. Um, she just directed a documentary called Where the Rope Ends. And it's about a search and rescue effort that saved the life of a woman who was canyoneering a really fascinating subject and she's a really powerful storyteller and she had this question for you. Both of you. Do you tend to have high or low expectations for people and how do you manage that?

Jordan: 47:47

Hmm.

Chris: 47:49

Nolan Phil filmmaking is such a collaborative exercise, right? Mm-hmm. And I think I can, sometimes, I sometimes have sup, my expectations are, are too high, or I haven't communicated my expectations, so people don't know what my expectations even are. And as director Jordan, I mean, you're sort of, you're sort of humming that ship.

Jordan: 48:16

Yeah. I mean, I think I do have high expectations of p i. It's sort of both. I have both in a way. I have, I have high expectations for people and hope that, you know, that they do the best that they can, I just kind of remind myself, I suppose that relationships and working relationships and growth, it all depends on, on time and, and patience and, and continued encouragement and, I'm sort of at a place in my life where I can. Be okay. With that canoe journey was our first narrative project here in the States, and it went well. It wasn't, it wasn't a hundred percent perfect, but it's, it's, we, we grew so much, you know? Yeah. And we made so many new relationships. So I guess just for myself, managing that for myself is just constantly reminding myself that, you know, this is all part of a, a, a bigger picture and a bigger process.

Chris: 49:10

Yeah. That's really well said. No, Alani, did you want to add anything to that?

Noelani: 49:14

Um, yeah, I, I agree with Jordan. Um, especially like Canoe Journey was my first ever production right on the ground. And, um, It's where we brought we're C S S P, we're an indigenous focused and valued company. And then we also brought in industry professionals, right? Crew and talent that are part of this really fast-paced, very cutthroat, um, industry. And so, like, my expectations were kind of like, I have expectations. People are gonna get their job done, people are gonna do their homework on the script and know their character. But I also know that some people may not do their homework as much as others or, um, and so I think I had, I, I think I have high expectations, but I think what we did good on the canoe journey set is when people weren't meeting our expectations or our standard or conflict came up is we addressed it like, you know, morning safety meetings. Like Jordan and I, multiple times had to like nip things in the bud. And so that was, that was kind of like, When you wanna meet a schedule and meet this deadline, get everything we need. You kind of do have to have expectations, but also are ready to resolve that when it, when it arises.

Chris: 50:29

Well, when you're on a set, nothing, is gonna work like clockwork. I so being able to flex and adapt to that, I think is a really good learning lesson for anyone out there who wants to, to make anything much less film, which is such a collaborative endeavor. Hey, the two of you. Thank you so much for joining me today. I think there's just lots of really strong, strong advice here and you know, the fact that you went out there and got it done. You talk about getting it, you know, getting it done, getting things finished, and it sounds like you're well on your way to, to, to making that happen. So best of luck to you and maybe once, you know, six months from now, maybe we, we can circle back and have another conversation about how this thing is just blowing up and, uh, in the universe. Yep. Yeah. And, and you know, I love it. So thanks again and um, I really hope to be talking to the both of you again soon. It's been a

51:24

real

Jordan: 51:24

privilege. Yeah. Yeah. Thanks Chris. Thanks for inviting us. You bet.

51:29

And so ends another episode of creative state. Thanks for listening. And don't forget to visit our sponsor creator deals.com. But even more importantly, keep making the good stuff. See you soon.