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Indiewood
A Podcast for Indie Filmmakers
In the world of social media, and fast-paced journalism, knowledge is abound. But with all the noise, finding the right information is near impossible. Especially if you’re a creative working in independent film.
Produced by Cinematography For Actors, the Indiewood podcast aims to fix that. This is a podcast about indie filmmakers and the many hats we wear in order to solve problems before, during, and after production.
Every month, award-winning Writer/Director Yaroslav Altunin is joined by a different guest co-host to swap hats, learn about the different aspects of the film industry, and how to implement all you learn into your work.
"We learn from indie filmmakers so we can become better filmmakers. Because we all want to be Hollywood, but first we have to be Indiewood."
Indiewood
Finding Art in the Edit: Exploring Post-Production with Allie Rae Treharne
What if navigating the world of indie filmmaking and editing could offer you fresh perspectives and creative breakthroughs? Join us as we sit down with the incredibly talented Allie Rae Treharne, an actor, producer, and theater maker who shares her intriguing journey from the advertising to being cast in a Netflix show to pursuing an MFA in London. Allie opens up about her recent experience editing her first short film adapted from the play "Detroit," produced for the Hollywood Fringe Theater Festival. With candid reflections on the challenges of limited takes and the sheer flexibility of modern camera technology, Allie and Yaroslav explore technique that budding filmmakers and editors can use to master their craft.
In this episode, we also dive deep into the technical nuances of video editing, comparing the merits of Adobe Premiere Pro and DaVinci Resolve. Hear firsthand about the intricacies of editing live productions versus narrative storytelling, and why timing and pacing are crucial for emotional impact. But it’s not all about the technicalities—Allie and Yaroslav discuss the emotional toll of perfectionism, the hurdles of self-promotion, and the need to find a balance between being in the spotlight and recharging. Don't miss this engaging discussion that illuminates the multifaceted world of indie filmmaking and the evolving roles within the creative process.
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A Podcast for Indie Filmmakers
More on:
IG: @indiewoodpod
YT: Cinematography for Actors
In the world of social media, and fast-paced journalism, knowledge is abound. But with all the noise, finding the right information is near impossible. Especially if you’re a creative working in independent film.
Produced by Cinematography For Actors, the Indiewood podcast aims to fix that. This is a podcast about indie filmmakers and the many hats we wear in order to solve problems before, during, and after production.
Every month, award-winning Writer/Director Yaroslav Altunin is joined by a different guest co-host to swap hats, learn about the different aspects of the film industry, and how to implement all you learn into your work.
"We learn from indie filmmakers so we can become better filmmakers. Because we all want to be Hollywood, but first we have to be Indiewood."
welcome back to the indie wood podcast. Once again. This is a podcast about indie filmmakers and making indie movies and the many hats these filmmakers have to wear in order to get those movies made. And we talked a lot about this series with our wonderful guest, ali Ray, about writing, about producing, about kind of prepping for the things that you don't expect in a movie or a theater production and just to kind of you know if people are jumping in at the last episode instead of the first one. Allie Rae Traharn is an actor and producer and theater maker as we've coined this episode or this podcast and she has been on this interesting journey of doing advertising in Utah to ending up on a TV show in Los Angeles and then producing a play that went to the Hollywood Fringe Theater Festival and now is moving to London to pursue an MFA. Yes, it's been quite a journey. But before we get to your next path, your next journey, your next destination, I want to talk a little bit about editing, because recently you've edited your first short, is it right?
Speaker 2:Yeah.
Speaker 1:Can you say more about that? Yeah?
Speaker 3:it wasn't a full. It's not like a full. It's not a full narrative piece that like works in the short.
Speaker 1:Was it the Detroit adaptation? Okay, so Detroit was the play that you produced, and so you kind of filmed a little bit of a. So, we filmed two scenes from it.
Speaker 3:So we like we took the exact same script, but we just put it on the screen.
Speaker 1:When you kind of filmed the play Detroit, was it? Did you just do like a single? Setup or was it multiple angles? Yes, so it was kind of a short film.
Speaker 3:Sure, I mean as in like it was shot like a short film and we had an amazing crew, amazing DP, Luke Pendley, who CFA hooked us up with Shout out CFA. Yeah, these girls rock.
Speaker 1:Yeah, they do.
Speaker 3:Tori and I sent an email, or I emailed them being like hi, I'm looking for a DP, Do you know anyone? And then they fully put me and Tori in their newsletter and we got a response of like 12 different DPs that's crazy Like just down to collaborate with us. It was so nice and they were all so good.
Speaker 1:It's hard to pick a one DP out of a sea of good ones I know, or any crew member, yeah.
Speaker 3:I was like shit and I'm not used to being on that side of things. I'm used to being rejected, yeah yeah. So now you know how hard it is to reject people yeah. Yeah.
Speaker 1:I think that experience also kind of changes your perspective on like oh, it's okay, I didn't get it because it's hard.
Speaker 3:Sure, yeah, yeah.
Speaker 1:So you filmed Detroit as a short, so we did, yeah, so, but as in like it wasn't like a beginning middle it wasn't like a like.
Speaker 3:we can't probably give it to film festivals. We can't really screen it without the context of being like these are just scenes like I labeled them scenes from Detroit, so it's just like an extracted scene from a play that I just. The purpose was that I wanted our work in Detroit to have longevity. That was also shareable because Tori and I we put in so much acting work to it and theater so ephemeral, you never see it again, so we needed it for our portfolios you know what?
Speaker 1:I think there's a version of this that you can cut. That could be a short film that you could submit to festivals really short films are. So you know, I'd like to know, but I, I, I will stand by that because I feel like short films. There's no rules, you can do whatever you want and I've seen scenes from a, from like a movie.
Speaker 1:Uh, that could be a short film, you know, and so I I'm a firm believer in that. A short film is kind of whatever it wants to be. It just depends on the story for sure.
Speaker 3:Yeah, and I think like there's definitely some compelling things about both scenes. I I would love I mean, yeah, one of the scenes I feel good about the other other scene. If you watch it I'll probably be like Yaro tell me what I did wrong. Tell me how to edit better.
Speaker 1:It was challenging. Are you editing by yourself or do you have an editor and you're directing that?
Speaker 3:I edit it by myself and then I would just kind of send it out for feedback. But also it's kind of like the way we shot it. We had limited takes and um since we didn't really adapt the words um, it's this long play monologue.
Speaker 3:So, it's like I have like two takes of the monologue Cause it's like a five minute take to pull from. So it's like my my options in the editing are limited and I'm not a I I am such a beginner I don't really know what the tricks are for working around. Do you know what I mean? Like it just felt like I don't have a ton of options to cut to Like one close of me. You know we have two of a two. We have one wide and one like really wide.
Speaker 1:See the interesting thing about modern cameras nowadays. Back in the day when I was kind of starting, I used to shoot on mini DV tapes which weren't even HD. They're HD, quote, unquote but like the quality, just you couldn't punch in Because once you started punching into the footage it just would fall apart. It would be so grainy, it would be so muddy. It would be.
Speaker 1:you know, you could see like the individual pixels but with, like you know, stuff that's 4K, stuff that's 6K, you can reframe and get closer and get further away yeah so, depending on what you shot in, you know, if you just have one angle on you, one angle on the other actor and a wide, there are opportunities depending on your resolution to turn that wide into a two into a two or to a close-up or to, you know, an extremeup.
Speaker 1:And we talked about AI and kind of pooped on it the last episode. But there are also people. Well, they'll pull out a little bit right and they'll have, like, you will see the black around the. You'll zoom out of the image a little bit and then you'll have black bars around it and then you just fill those in with AI and then it's a different shot altogether. Wow.
Speaker 1:I didn't know that, yeah, so not to, like you know, tell people to go use AI and whatnot, but there's use cases for it. Yeah, for sure, so you can open up your edit a little bit more.
Speaker 3:Those are some good hacks, yeah, cool. I mean, I was just I'm like at the level of just trying to figure out it's so basic, but those are good to know for when I have the capabilities of using them it's definitely its own kind of thing, editing, you know, and we talked about this better at it it's just practice you gotta keep doing it and and as you, uh, you know start to unpack the story and you'll cut here and you'll cut there.
Speaker 3:Maybe you'll find that, as you're editing, like the scene is great, but maybe if you cut a line would it work better and now you're editing the play a little bit, but also, I mean, that's the thing I think I I wanted, I think the second scene that we shot with the first scene, we I mean, yeah, the second scene we shot, I'm like the or the second scene that we released, um, yeah, it needs to be cut, is what?
Speaker 1:it is. How long are both scenes?
Speaker 3:between like 7 to 10 minutes. So Tori's main scene, cause you know we like shot her scene, most of her coverage, and it kind of goes back and forth to me but then and then. So each of us have our like you know the characters, like moment. So yeah, hers is like, I think, just like goes, goes, goes. And then mine is just like slower, it is just yeah, it's like we should have cut the dialogue can I ask a question?
Speaker 1:so when you're cutting these four, I mean you're cutting these four kind of your reel, right? You're cutting it kind of ish.
Speaker 3:You know, I kind of like I don't know if I really need more shit on my reel at this point, you know what I mean. Like here's another short I did. Here's another close-up of my face, like I have. But so, yeah, definitely a little bit for the real. But also I kind of wanted to send the whole thing yeah also just like share the whole scene with anyone I want to work with, to be like here's a whole scene I did, I don't know just like.
Speaker 3:I think in and of itself it's like the beach scene is a really good showcase of me and Tori's work.
Speaker 1:So let's say, for example, you're doing Tori scene, which is more of her right, and your character is saying stuff a little bit.
Speaker 3:Yeah, there's some back and forth.
Speaker 1:So when you're cutting it, uh, are you finding that you're focusing on Tori more? Because, she has more dialogue. What about, at least in this instance, finding opportunities to cut back to your character, where she's listening, listening?
Speaker 3:yeah, yeah, I do love that, like I love a shot of a character, just like absorbing yeah listening. Yeah, I think that can be fascinating. Yeah, I think she was just killing it so hard in that, in those takes and that footage, that it's just sort of like and the other thing is that I love a long shot, like I just love an uncomfortably long take. That's not cutting and this person's just cause she's in this scene she's having a breakdown and she's like hammered out of her mind.
Speaker 3:And she's just got such a compelling performance that I was like, oh, I could just like. So I wanted to stay on her for as like as long as humanly possible.
Speaker 1:Why not stay in the whole scene in that wide? Because, like as long as humanly possible, why not stay in the whole scene in that wide? Because I don't know if you've seen Maestro.
Speaker 3:Yes, there's a scene With the parade.
Speaker 1:Yeah, there's a scene that takes place in the apartment during a parade. The whole thing is one take in a wide and it works, and it's an argument and the cool thing about going in a wide. This is another trick that I kind of picked up, uh, uh, from george lucas, my buddy, george lucas.
Speaker 1:Now I saw it in a behind the scenes thing a long time ago. But what he would do is is the the shot was static, right, but then he would split the screen and he would move one half of the scene forward or back to retime an actor's reaction or retime a line. And sometimes there's also opportunities where you can do that to change the pacing of the scene or the reaction of different characters and then also cut around that.
Speaker 3:Wait, I'm not sure I understood what you said, but that sounds like something I wish I knew how to do when I was editing.
Speaker 1:Well, I guess if you look at the timeline, you'll just kind of duplicate the clip in the timeline and then cut both clips literally in half right on the screen. So let's say, for example, if tori's on the right side of the screen and you're on the left there, because it's a static shot. Yeah it's two different clips that match up, but then you can retime when the reaction's happening, when the line's happening I still, but but the other person is still gonna glitch. Well, you just crop that part out.
Speaker 3:But you'd still have to cut back to something else, right? Well, I?
Speaker 1:guess it only works if you're in a two-shot, so the two actors are on.
Speaker 3:On my scene we have a really, really long two-shot and I am taking so long to respond. So you're saying there's a way to fix that?
Speaker 1:Yeah. So for example, let's say you have the same shot right, but you duplicate it in a way where the left side is its own shot and the right side is its own shot and you cut it down the middle. Yes, right, and so they're kind of separated from each other, if that makes any sense From the whole take.
Speaker 3:They're separate. Yeah, oh, okay, gotcha, so we can retime it as needed. Yes, yes, yes, and I think for longer takes it might be more difficult. Okay, this is starting to compute.
Speaker 1:It's starting to compute it would be better with, like a visual example, but on a pod it's kind of difficult. No, okay, that's interesting and sometimes you know the performance on the day works and then you get it in the edit and it just doesn't fit you know and you can do that, you can retime it totally.
Speaker 1:I've never been more mad at myself, like as an actor like watching myself on the screen, being like yeah, yeah, I've yelled at my footage I've shot of myself. I'm like why did you cut there? Why did you pan? Why did you cut there? Why did you pan? Why did you do that?
Speaker 3:It's yeah Well, like we said last episode, you know a project is cut in three points in the timeline Screenwriting on set and then the edit For sure, I mean I learned a lot as an actor because I've edited my own reels and stuff and yada, yada, yada.
Speaker 1:But I learned a lot as an actor. Having to edit my own long ass takes, yeah, and I'm just like dang girl. Are you finding that you're going to make different decisions? Are you going to be a little quicker? Are you going to be a little slower?
Speaker 3:yeah, I think like it always depends on the context, what the project is, what the director wants, what the tone is. But I think, like, I think, yes, I think my takeaway is that, like as an actor, sometimes I take a little bit long with my thoughts because I'm being really precious with my connection as an actor and I think I'm afraid that it's going to disappear.
Speaker 3:If I like blow through it, which is a thing you know. You don't want to rush and like, but so I think, like with this monologue, I was really like okay, now I need to, now I need to take a moment, really let it hit, and then say my line and it's like girl, if you had just like trusted that, it was all there blown through it a little bit more it would be a lot more pleasant to watch.
Speaker 1:I think it's definitely yeah, maybe giving you more opportunities to kind of be more introspective. But I will caution you that sometimes when you see yourself from the perspective of an editor or a director like they because for me I love an actor who takes their time like, just if you want to sit there for 10 minutes, please maybe not 10 minutes, because then in the edit you can kind of trim that as needed. You know, but you can never extend something that's absolutely 100.
Speaker 3:Yeah, and since it was like these, really really long takes.
Speaker 1:I think I was just kind of like. You know, it's hard to edit when you don't have enough coverage.
Speaker 3:Yeah, but I agree, I do like the time too, because you can always take it out, you know. But when it's one single shot and you can't cut, it's just like.
Speaker 1:Would you ever edit again?
Speaker 3:edit the scene again or just edit in general oh for sure, yeah, yeah, I think I have like, I think I have a sense of it, which is why I can tell that like one scene hits sits well and the other scene needs a retweak, you know like and I've been editing my reels for years, like I've, I think, like as a designer and someone who knows, like the adobe suite, like inside it out, it's just like I kind of like, and I've been in film premiere pro well I tried to learn da vinci for this and then I was like no, that learning curve is so freaking high.
Speaker 3:I spent like so many hours just googling a glitch that apparently had never existed until now. I'm the first person with this problem. I I'm like that's amazing.
Speaker 1:It happens. Yeah, I was just like okay.
Speaker 3:So I know that DaVinci's probably better, especially for coloring.
Speaker 1:You know what I would say? Not one is better than the other, because they have things that work better for one thing or another. And DaVinci does have color and it's a little better.
Speaker 3:It's a tool and there's certain things that that fit better. Yeah, yeah, I think I just didn't have, um, I would. I'm not, I don't have the skill set yet to utilize what uh resolve has to offer, so it's like if I'm just going to keep it super basic, true I know super basic stuff in premiere I've heard people say the opposite.
Speaker 1:We're like, oh, it resolves better for basic stuff and for premiere, like, oh, I, I would never edit a commercial or a film on anything but premiere. Yeah, well, that's the editor's take on it and I, while I've edited, I don't consider myself an editor because I hate it oh, I love it I hate editing, but I also because I cut my my teeth editing live production right, so I would cut live dance and it would be like the same production every winter and every October, like 15 years and after a while I just like.
Speaker 1:all I see is the same show over and over again, slightly different with different faces and it'd feel like a like a like a fever dream, because it'd be the same thing but different people. But it also taught me how to time things and pace things and where the cut is, and I think we talked a little bit about this, um, when we were planning. This episode is like when should you cut on a beat musically, or or you know, audibly, uh, or story wise, or when should you cut off of it? When should you?
Speaker 3:wait, what do you mean? Cutting on a beat, do you mean a beat change?
Speaker 1:Well, you wait. Yeah, what do you mean? Cutting on a beat? Do you mean a beat change? Well, let's shift. Uh, yeah, well, for example, let's say, like for music videos, you know music videos have a beat and sometimes they'll cut on a literal beat, right, or sometimes it'll be a visual thing like uh, like, um, uh.
Speaker 1:Sometimes, uh, you'll see editors, they'll cut on a punch to hide that it's a fake punch right and uh in uh chinese hong kong cinema, where they did a lot of kung fu, they would just do like full takes where to hide that it's a fake punch right. And in Chinese Hong Kong cinema, where they did a lot of Kung Fu, they would just do like full takes where people are, you know, and it doesn't look fake because they're well trained, but it also makes the action better. And then, for example, on a literal, like story beat, you know, let's say, something happens and you're waiting for, you want to see the reaction, but you hold on that person a little longer and then you cut, like the person Like, let's say, character A, reveals something important.
Speaker 1:Right, you're holding on character A.
Speaker 3:And you hold on them for just a little longer, where you would expect to cut away to see the other actor's reaction.
Speaker 1:So the audience is still reacting to the information but you haven't cut yet, because as you cut, you have to remember you have the two actors and you're pacing for them, but you're also pacing for the audience.
Speaker 2:Sure.
Speaker 1:And sometimes they have to catch up or maybe even just cherish a moment a little longer.
Speaker 3:Yeah, at least that's my theory Sure, yeah, I could see that yeah.
Speaker 1:Yeah, what was the most difficult thing about editing these two? I'm going to call them shorts because I still think they could be shorts.
Speaker 3:I think my own inner demons, okay, say more like having anxiety about releasing something that's not perfect yeah you know, and like me feeling like I don't have the right to like do this and like show people because like I'm not an editor, and then like in there every time, like a glitch comes up, especially when I was on resolve, just like spending two hours down a YouTube hole and still not adjusting like finding a soul is like enough to drive someone insane.
Speaker 3:And and then also just like these self-imposed deadlines I kept not meeting um, because something would end up being a lot harder than I, than I anticipated, or just took way longer than it's supposed to. All of that, and then also like sending it out for notes and then not being able to meet people's notes because they're like you need to like suck the air out of this, you need to do this, and then me being like I can't.
Speaker 3:That's all the footage, it's just like it's hard knowing that like you know, this person doesn't maybe like it, or like knowing that this is an issue being like, well, it is what it is. Like I hate that. Like I, I want things to be perfect and finished and solid and, like I, I'm such a perfectionist and I'm such like I just need it. I need to feel so good about it. So I think, just sort of like cutting myself some slack was hard for me to do, but I had to do it.
Speaker 1:I've been there. I've had like anxious sleepless nights because I was like this needs to be good. I hope they like it. Like anxious sleepless nights because I was like this needs to be good, I hope they like it. And I remember I got a uh, an email back from a producer and he was like this is great, we have some notes. My brain immediately skimmed past this is great. It was like we have notes and I'm like I'm terrible, I'm a shitty writer, like I suck at this, and that it's hard to kind of fight those inner demons because you're putting out something that's so personal, or maybe, like you, that it's hard to kind of fight those inner demons because you're putting out something that's so personal or maybe, like you know, it's not too personal, but this is your first attempt at doing it and people, serious people, are taking a look at it totally.
Speaker 3:But editing is hard totally and it's weird editing your own face and then showing everyone your own face that you edited you have to be comfortable with your own face.
Speaker 1:Yeah, look at this five minute.
Speaker 3:Take of this ultra close up of my face, Watch it and tell me what you think. It's like. It doesn't fit like, oh, it's just like. When you think about it too hard, you get really self-conscious.
Speaker 1:Yeah, because it feels egotistical in a way it does. Yeah, you feel insecure and you're like I'm sorry, take 10 minutes of your day and watch my face.
Speaker 3:Yeah, that I, yeah, I set up a whole production To record this.
Speaker 1:I'm pointing at my face for those listening at home and you're showing it. You're forcing someone to watch it, yeah.
Speaker 3:And then I cut it together and then I sent it directly to your inbox.
Speaker 1:I'm going to sit here and watch you watch it and watch for your reaction.
Speaker 3:It's just like, oh God, sometimes it's like as an actor, you know like I find like sometimes it's like you kind of over being. Sometimes you're like, okay, I need to like not be witnessed for a minute.
Speaker 2:Yeah, I need to take a break from like begging people to witness me.
Speaker 1:But it's exhausting. Here's an interesting thing that I don't think. I have never felt like I'm being witnessed me specifically, but like my ideas and my feelings and my thoughts and ideals. But for actors, I think it's different, because your instrument is your body. It's not a pen, it's not a camera. How do you deal with that?
Speaker 3:I don't know. Honestly with Detroit, it was like we went so hard but it was like after like however many months, because also it's like I was producing it myself, like if I'm in a production that someone else is taking care of all of that I have so much more energy and I feel way less weird about it.
Speaker 3:But when you have to put out your own work about there, out there and I'm producing it myself and I designed posters with my own face on it, and then I'm printing them and hanging them up and then getting people you you know, the reason we sold out shows is because I texted everyone in my phone book and I was like come to our show, come watch me. And then in my classes I'm like come to my show. I'm just constantly being like watch me, watch me, watch me.
Speaker 3:And then they're there and then I do my thing and then afterwards I'm like you have to say hi to everyone and be like thank you for coming, still promote it and promote it, and promote it. And after all that, I like needed a break. I needed a break. So I like, I like took myself out of class for a minute and I was like I was just craving being behind the camera for something and I actually did production design for my friend's feature.
Speaker 1:That's why that's what I did I like art directed a feature what's the least acting thing you can do behind the camera?
Speaker 3:yeah, because I was like I need to like take a minute because I feel so exposed and like raw and also, you know, like I need to recharge, like I need to stop being so outward facing.
Speaker 1:I don't think that's like for my personality, that's not sustainable and then you went and shot a short form, short film of it and then you edited your face and then I did it again, shot it back the other way again. Well, there's another slingshot happening in your life. You're getting an MFA for acting in theater, after having success and after producing. And after what was the how did you come to this decision to kind of continue your training? And because I do count, you know, you being on set as training, because I think we learn so much by being a Jew.
Speaker 3:And I think there's people who get multiple degrees who never get the real life experience.
Speaker 1:And I think.
Speaker 3:What you get from the real life is obviously like incomparable. You cannot learn that stuff in a classroom.
Speaker 1:True, true, true. I will say, though, that going to grad school for writing it refined all this, all this kind of goo that I picked up along the way I love that and I feel like I can see that being like more applicable to like a craft like writing than performance.
Speaker 3:I think sometimes if you over intellectualize or over like academic, if something becomes over academic, you know when it's just hard. You have to strike that balance right. And so I think like I, um, yeah, the mfa thing, like I've just always wanted conservatory training I love being in class. Um, it was my dream to go to an acting school when I was 18 and you're going to london dream yes, it's been my dream to visit london.
Speaker 3:It's been my dream to do theater in london. Um, and I do think that a lot of times with theater there is a bit larger barrier to entry than film.
Speaker 3:You know, I think a lot of people come. I came to la with, like you know, not not a lot of like training, but was still able to like work in film and tv and I think with theater and I'm not saying this is good, I don't think it's a good thing oftentimes, like people do prioritize, like where someone comes from yeah which I hate, but I'm also looking forward to like, um you know, just like I guess, making connections, like in that way, and just opening up my world to like another industry.
Speaker 3:That's not just la um and opening up my world to other art forms, that's not just film and tv and doing more, more theater, and I, you know, and just like being exposed to the way they do it over there and stuff. And doing more, more theater, and I, you know, and just like being exposed to the way they do it over there and stuff. And, once again, I just love being in class. There's infinite things to read. There's infinite things to learn, like. No matter how good you are, um, and how much like you think you know, I still learn stuff in my scene study class, um with Deshaun Terry. Every week at the last acting studio, like every week, I learned something. So, yeah, I just want that structure again and I want an MFA why not?
Speaker 1:if you can, why not? And I think that's the theme of this episode and maybe the theme of this pod is never stop learning, you know. I mean, even if you end up wearing one hat for the rest of your life in this industry, it's never too late or too early to learn more. I feel like everything you learn refines your main focus and uh, yeah, so everybody, keep learning, keep reading, keep trying to edit, you know, keep learning doing new things and look at your face more just stare at your face.
Speaker 1:It's super healthy it actually kind of is, I think I I would say, maybe not in the artistic sense, but in the literal sense, because I've noticed that until very recently I've never actually saw my face.
Speaker 3:Really. Yeah, and that was a big change for me being on camera, being on this pod, sure, seeing myself from the angle that everybody else sees yeah changes how I perceive myself real, yeah, and I feel like in that situation you either have to accept it or you buckle and I yeah, you know, and it's just like correct for me as an actor.
Speaker 3:I've just like, I'm just over it, I've gotten over it I've gotten over how I look. I've gotten like technique, really technically familiar with my face instead of like oh my god, I hate that angle, I hate this side, I don't look good I don't, it's like no, I know what like I look, it's like you kind of just have to like get over it yeah like if you are like intent on like harboring so many insecurities about how you look as an actor, I don't know that's gonna be exhausting, detrimental, like you need to get over it on that note, we're gonna wrap up this series um look at your face, get over your insecurities.
Speaker 3:Look at your face. Get over it. You're beautiful.
Speaker 1:Keep learning, yeah, yeah all right, thank you so much. Thank you so much for a wonderful podcast. Uh I I wish you a lot of luck in London. Uh Lambda right, london Academy of.
Speaker 3:Music and Dramatic Arts Love it.
Speaker 1:I think you're going to have a great time. Thank you for everybody who listened, have a wonderful week and we'll see you next time. Thank you for joining us at the CFA Studio for another series of the Inwood Podcast. You can find the podcast wherever you find your podcasts or on YouTube at the Cinematography for Actors YouTube channel. See you next week.
Speaker 2:From the CFA Network. Cinematography for Actors is bridging the gap through education and community building. Find out about us and listen to our other podcast at cinematographyforactorscom. Cinematography for Actors Institute is a 501c3 nonprofit. No-transcript.