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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
Lessons From Mentors: How To Learn From Masters of The Craft
Ever wondered where Emmy-winning multi-hyphenate Gene Gallarano keeps his prestigious accolade? Prepare for a chuckle as Gene reveals his award's unconventional home, sparking a broader conversation on the personal significance and often humorous dynamics of award recognition. We explore insights from John Batiste on how awards, while not defining art, are undeniably coveted. Through our discussion, you'll grasp the motivational power of accolades and how they symbolize the collaborative efforts behind any success.
In this final episode, Gene shares how learns from all the creatives he works with, spotlighting the artistry and challenges of juggling multiple creative roles in filmmaking. He shares his unique experience as a documentary filmmaker as well as insights into the collaborative dance between filmmakers and their crew, the skills needed to capture authentic moments, and the artistry of sustaining continuity throughout a filming day.
Join us in this final episode as we celebrate the art of filmmaking and the power of community in storytelling.
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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, a podcast about indie film and the many hats we wear in order to get those films made. My name is yaris lobaltunin. I'm a writer director. I've also been an editor for 15 years. I've shot some stuff. I've, you know, been a grip, been a gaffer, been a sound person. I've done a lot of things and I like talking about those things, and I like talking to folks who are also multi-hyphenates. And with me today, for our final episode, I have Gene Gallarano, who is a actor, director, writer and a producer with an Emmy. How does it feel, by the way, to be an award-winning director with a statue? Sorry, producer with a statue?
Speaker 2:I keep it in my bathroom. It's like a nice and humbling reminder of you know when you need the door closed and you're all alone with yourself and you're whatever.
Speaker 1:Because it's a flex for people that come over, but it still keeps you humble because you're like no, no, it sits in there. Is it a flex you have in the bathroom?
Speaker 2:I don't have a statue, I kind of thought it was I mean I don't know, I just thought it was like a kind of humiliating place. So like brighten it up or like just remind yourself of where you are. I don't know funny story talking about those things yeah, talking about bathroom stuff.
Speaker 1:Bathroom like plates, things we put in the bathroom. My wife and I were decorating our house. She's like how about this painting that you have, that's wonderful, we'll put in the bathroom? Like no, it's not bathroom art and so we have things that we, like, have bought over the course of a couple years that ends up in the bathroom. We call it bathroom art. I feel like it's kind of derogatory, but also like there is art that belongs in the bathroom well, I think, uh, I made a movie, um, I produced a movie.
Speaker 2:Uh, the musician john batiste was in. It's called american symphony um, with the director matt heineman shout outs, and uh, john batiste said know, awards don't validate your art. But I sure would like to win me some. And like obviously you know I mean, but they're like for the one I got I'm very proud of because I think it was a really important film and. I think it should be recognized.
Speaker 2:And this was for the first wave yeah, and that was a team win and it was a really sweet like everyone on the team got that and it was a really sweet like everyone on the team got that and it was a really hard win to get that and um, but like they're also embarrassing, what are you supposed to do with those things? I don't know do you show? Them, do you not? You put them in the bathroom. It's kind of like I want you to see it every zoom, like I don't know it kind of feels.
Speaker 1:I feel like if you have more than one, then you can take it out of the bathroom, right?
Speaker 2:I just give it, I give one of the kids and they can do whatever the fuck they want with it. I'm like the other one stays in the bathroom, but not. I think I heard kate winslet has her oscar in the bathroom that's right.
Speaker 1:I kind of like that she.
Speaker 2:I think she said people can hold it and practice their speeches which, if you think about it, it's really beautiful like you know, like most people aren't going to get one, and if you get lucky enough to be at kate winslet's bathroom, maybe you're on a better track. But, like you know, maybe maybe you get to hold it and look in the mirror and be like you know.
Speaker 2:Thanks, mom you know, thanks all my teachers like whatever you would say to you, know when you're up there and you get your moment. Thank you, tiktok. I don't know what people.
Speaker 1:I don't know what people would say you can do that now at the Academy Museum. You can go and they'll record a. You can hold a real statue and you can record your acceptance speech and they'll send you a video. Wow, it's fun. It's like on a green screen. Have you done it? My wife's family did and they loved it. Did they love it? Yeah?
Speaker 2:What did they say?
Speaker 1:You were like I can't, it's too close to home, it's too real, I couldn't do it. I couldn't do it. It was like that show.
Speaker 2:What was that show about? The actors that party down was that. It was like it was they're all a bunch of cater waiters yeah, it was party down and my, my, I don't know however long ago and my roommates were watching like you have to watch it. It's great, and I watched one episode.
Speaker 2:I was like it's too painful yeah it's too close to home, I can't watch it. I refuse, I don't know. I don't know those awards things. They're funny, I mean, listen, it's a great, it's great I. I'm very proud of that one because it's a team win and that team earned it and it was such a hard thing and it cost so much for everybody and it was such an immense thing that it deserved it and so I'm very proud of it, regardless of where it sits in anybody's house and no judgment on anybody and how they do it, but I'm sure up in the Hollywood Hills there's lots of statues and there's a shelf places, you know bouncing light off of them and shit well, getting to the point where you have a statue, I think took a lot of work, a lot of courage.
Speaker 1:A lot of courage and a lot of trust fall into the opportunity. But then, also because of that work you put in, you've also had the opportunity to work with a lot of amazing filmmakers and you told me a little bit about this during our prep, where you learned a lot from these icons of the industry, and so I really wanted to dig into that a little bit and learn about what you learned and what you bring to your projects from those experiences, because you said during the production for the first wave, you were watching the master class for Jimmy Chin.
Speaker 2:Jimmy Chin. Jimmy Chin's master class, everybody check it out, and then you ended up working for him like a year later yeah, yeah, we made a show and and we we worked a lot together on on that one and it was really cool, and I made another one for it for jimmy and chai and their company so what'd you learn from jimmy?
Speaker 2:what I learned from jimmy. Uh, unfortunately I'll never touch being as good at the things that jimmy is as good as the things that he's good at. But what I would tell um, young, when, like, I'll have young filmmakers, documentarians etc come up to me I'll say, why don't you try? You know, especially like there's a little bit of a doc jock culture in that world with like documentary, like the war journalist kind of idea. Let me go into conflict zone, let me get super intense and there's a whole.
Speaker 2:That's a massive, massive conversation and I love those people. But the young ones that come up to me and you can see it and they want it and I'm like they ask how do I get a career? And I say, why don't you excel at two things? You know like gotta be great. If you're a shooter, you gotta be the best shooter you can be, right. Then, once you like, find one other thing that you're great at and excel at that, and marry the two and that's you can probably get a career out of that so like you know, like Jimmy Chin, for instance, like he's a master photographer, filmmaker and he's a world class.
Speaker 2:He's a world-class, one of the most elite adventure athletes on the planet. I mean the dude can hike every mountain in the world, has hiked them and skied down it, you know. I mean he made a career making movies and taking photos in that world. You know, and that's how he broke in. And like I think that there's a tremendous thing to learn between trying to like come up with a couple areas that you can be masters. There's a lot of just shooters, right, but what are they shooting? Why don't you bring that into it? So that's one thing I would take away from like a jimmy in particular. I mean I haven't shot anything with like I've filmed jimmy. He's been like the uh, you know, like navigator, host type and uh, obviously shepherded these, these tv shows. But um, we haven't like filmed, you know gone, and I mean I don't hike mountains. What am I gonna do? How am I gonna be there? You know I'm do that. What's your scared of mountains?
Speaker 1:what's your secondary? I think I was gonna ask you what's your secondary thing, but you have like four things you're good at. I don't know what my first thing is well, you're an actor. You're pretty good at it maybe I'm uh.
Speaker 2:I mean, I think I was, my grandfather was a salesman and I talk about with some of my cousins like that's, we're good at talking to people and I think to be, and I was like exactly I was like. I was kind of born for that. My mom used to always be like you were, with a pied piper in the neighborhood.
Speaker 2:I don't know what that means like you always had friends and I did a lot of people and I like, really liked engaging, and my wife's my wife has a used a great quote for me she's like gene, he's everywhere and nowhere. Like those are my two things. Like me, everywhere and silent dancing nowhere and no one knows what that?
Speaker 2:means I'm not sure, but it felt really appropriate okay yeah, what do you think it means? Oh, I think it means like understanding the lanes of different components and trying and being willing to do multiples if I have to yeah I mean, sometimes it's really nice to just do one thing.
Speaker 2:Like it is such a joy to just do one thing, it is such a joy to just be an actor in something and not worry about any of the problems that the team has to do, and like, if you're a director, you're probably doing a whole bunch of components. You're a producer, you're obviously across all kinds of things. Like, I'm sure, if you're a shooter, I'm sure it's really great to just be a shooter.
Speaker 1:Only, sometimes and when you're all three actor, director and producer I feel that's even a more immense weight on your shoulders.
Speaker 2:Yeah it just depends on who the person is. Some people have no interest in that and that's totally cool, but I would say that's something I learned. I mean the luxury that I've had when I mentioned master crafts people and working with some of these, especially these documentarians, the last four or five years. These documentary filmmakers and their teams are just the best. They've just been the best and, like their world, everybody there is the best at what they do, and so you're taking in all. If you're again, if you're intelligent human being, you're going to look at them and say like I don't hold cameras but I'm going to watch these people, and I had a very interesting experience with them.
Speaker 2:I feel like it was pretty singular in terms of, on that project in particular, I held a boom pole, and if you hold a boom pole for a filmmaker, a Verite filmmaker, you're basically dancing with them and, of course, there were times where it wasn't working like one of the best. You know, like it's an immense conversation, but you're basically dancing with them in all of these situations where you're filming, and so I'm essentially having to learn about these shooters and almost predict how they're going to move, and so some of them are tall. You know, like there's like Thor and Alex Pritz are tall, ross McDonald's not so tall. They're all phenomenal shooters, like the best on the planet at this verite kind of filmmaking and can you elaborate more on what the verite style is?
Speaker 2:yeah, I would say the style that they that those, those films in particular, were, were like. You wake up with the characters and you leave with them, and when they're asleep, you're there shooting you gotta. And when they're asleep, you're there shooting you gotta make sure they're asleep and um, how does that work?
Speaker 1:by the way, so if someone does like wake up and then go to sleep, how do you cut? Is that? Is there a little bit of? Like magic, or do you literally just wait until they fall asleep, and you well?
Speaker 2:some filmmakers, some of the best, are like I'm gonna shoot absolutely everything and that's it. You just chew into footage and footage thousands and thousands and thousands and thousands of hours. I think it depends on like situationally and the subjects. Are they going to kick you out, are they not? And how much kicking out do they have to do before?
Speaker 2:you actually leave, there's a million components depends on what the project is. You know it's all over the place, but I think for me, truly like and listening, like I'd have one earbud in and I'd have one not out, so I could. So I could listen to the room and, like, listen to other things, I could listen to what I was doing, which also was a very intense experience. I don't know the last time you've been in a hospital under those circumstances listening to it, but it's pretty wild.
Speaker 3:Never, I think, for me.
Speaker 2:But, yeah, but. But like getting to work with all those shooters and spend hours and hours and hours and days and months with them, you learn how they look at things and I think that's a really important. I learned so much from that.
Speaker 2:There's no doubt that that was really foundational in a lot of ways of re-looking at how to shoot stuff and shooting it cinematically and making sure you're there for the like emotion of it and you capture the information when you have to or you just fuck it, figure it out later but like you're there for the emotion and like the nuance of how to push into situations, how to push on characters, how to push into really intense moments and how to push into really soft moments, and like seeing all the different flavors and levels and techniques that they all use, because they're all different, they all have a different feel like I can spot their shots and be like, oh, I know, I've been there, I understand that person, I understand how they shoot and when they would move, you know, and it's uh, there was a really, it was a really beautiful dance with them and we were uh, you know, like this little, this little ballet happening amidst this massive global event thing happening and we're just kind of operating in and around it and there's just so many stories of what I learned from all those guys and that team, the director and like it was just it was amazing and I mean you take that with you and you call into the next project and you apply that.
Speaker 2:And like I just worked on this um amazing series photographer that Jimmy and Chai were EPs and um, and the showrunner shout out Pagan Harleman. She was directed an episode and I was producing it and worked very tightly on it. Um, and it was on this master photographer named Dan Winters. And Dan Winters is one of the most intelligent people I've ever met, if not the most intelligent. I love every bit of him. He's just this like beautiful human being and he's very complex as well and he builds sets and he's a master builder and he thinks about every detail and so with him I was really excited to do it, do the thing, because I felt very he's a Texan and like I went and met him and we just had a lot in common.
Speaker 2:I felt like a kind of like the ringer producer going in and like love his wife Shout out to Cash she was amazing, their son Dylan, and like just phenomenal people, very open. I joked because they were so coachable. I was hey, I feel like we need to talk about this, but I don't know how to get us into it. Could you do it? And they were amazing and they just start a scene.
Speaker 2:This is a documentary and they just like and then it would go off in its own territory. Or with dan, he was such a master builder, I mean a his whole world is designed, so you're getting this world class genius production design. But I was like what, if we build the sets that you're going to do the master interviews and we'll film you building the sets and this will all be a part of it. And I think that just kind of like the style and the subject led like found their voice of, of the episode and I'm so proud of it because it's singular in that, in that capacity, and has world-class components to it. And I'd be, it was so much to work with him and and we had a great Michael Cromit and I was like I would say, dan, we're going to shoot this direction and I need to incorporate these three props because they become thematic. And I'd say, well, can you zhuzh it up a bit?
Speaker 1:And he'd go do his thing and I was like you know, like I couldn't hire 10 people to do that. You know Because you have that aisle and that experience.
Speaker 2:So I think you take from all of them and there's no way. And Dan would be like I just shot. I just had him play a role in this document, this hybrid doc I'm working on and and I was shooting with him, he's like hey, you want to get the bounce board? And I was like yes, I do.
Speaker 1:Is there anything else you think I should be doing right now? Because?
Speaker 2:I will do it, you know yeah um, and so I think you take so, like the way they all look at the world, you take that in if you're intelligent and you're like wow, look at this, like I 100 even if I don't think I'm probably using that, I am, and all the directors like they're they're amazing, you learn from them and I think you have to apply like you're.
Speaker 2:They're amazing, you learn from them and I think you have to apply like you get the opportunity to apply the techniques you know. Technique is really a comp, is like a compilation album of like all the things you've ever learned and you're like this song needs to be played here and this one here, and I meet you and you're like, you're like doing your thing or going through it or vibing. I'm like great, give them the beach boys, or give them you know, maryland manson, I don't know.
Speaker 1:Whatever you know, edge them out as you've grown with these filmmakers over the last couple years, you've discovered your voice. How are you seeing your voice kind of evolve and and bloom and what are you seeing is your nugget of knowledge and information that is going to be passed on, because I I remember I was talking a couple episodes ago. You were saying, like I'm finding my voice now. What are you seeing? That voice is, I think on some level, I think you can explain, I think you feel it yeah, I don't know what it is.
Speaker 2:I mean I know and who knows. I mean I hope I'm not there. I guess that's. The bigger thing is like I feel like I'm just evolving. You know, life dictates a whole bunch of stuff and everyone comes from different perspectives and that of course informs how they view the world. And I think if you're open to letting that kind of evolve and not be scared of it, it's very courageous to take these risks and try to do these things in a way like I don't mean courageous, like you're a first responder or something, but like to try to choose this as a career and dedicate so much time and go down the path.
Speaker 2:It's really difficult. You're going to say no to a lot of things and I think there's a personal courage in that. And I think there's a personal courage in not letting go of it, even when it's like unpopular or when it's not firing off the way you think it is, or you're getting pressure from the outside world and you're like I'm gonna hold fast. I'm gonna hold fast and I mean maybe there's something to that like bending and evolving with the situation, but not breaking, and like finding your way back. And I think that's a big part of all creative processes. There's going to be times where you have to compromise things, but if you can keep making sure that you like even if you just have a tiny thread that's still like on what you think it is and that's enough to hold on to to get you past that little wave, like you will find your way back and I think that's a that's a part of I't know what my voice is. I don't know what anybody's voice is.
Speaker 2:I think you just feel it and I hope it changes. And I think it changes every single day and I think it changes with every project. Like I hope all the projects are not the same. I'm doing these projects and not a one of them is similar and that's really cool. I'm sure there's me, me in every single one of them. I approach it just like you know, like some kind of friday night lights character, you know, like clear eyes, full hearts. I'm just go after it, you know.
Speaker 1:And like and like and that's it for your own story. You know, and, and I feel like when we talk about voice, people end up seeing it more than we do, and I think for me as a writer, I've had the opportunity to read my work and and look at it as a third party and be like, who is this guy? What does he do? And I found that it's a lot more emotional and it's just a reflection of me, like all my stories are just me trying to deal with my own problems.
Speaker 2:Oh, you're the one yeah.
Speaker 1:It's all me. So if you read any of my stuff, you're like, oh, so that's what he's dealing with. So if you read any of my stuff, you're like, oh, so that's what he's dealing with. But you see, like, for me it's always about like love triangles and like dealing with relationships and like familial unpacking, familial baggage, and it's all like wrapped up in stories, like superheroes or like going to Mars or you know a crime thriller, but it's always about family and when we kind of look at, when I family and when I look at it, it's heartfelt.
Speaker 1:I think it's always about the heart. I don't know, maybe I don't even know what my voice is either, but I see it.
Speaker 2:I think it's super cool if you're aware of it and I think people are true to it. I've watched some amazing people work and they know what works for them and they bring the material to them. They don't go to the material in a way. If that, makes sense, like they make the material work for their vision and, like we all know, it's like wes anderson. You know what movie you're gonna see in a wes anderson?
Speaker 2:there's no doubt we can all spot a wes anderson movie I mean there's instagram accounts about Wes Anderson yeah, that's a whole thing now. But like and you know and that's a big thing I'm just not that person. I'm uh, everywhere and nowhere. I don't like. They told me stay in your lane and I was like I'm scared of that, I'm not gonna do it, that's doesn't.
Speaker 1:That doesn't work for me well, you have four partners coming out, and I feel like once we see them, we'll find out a little bit more about what a Gene Galarano film is going to be like.
Speaker 2:Hey, hopefully you don't have any idea. It's me and you're just immersed in the stories. And you're like wow, those are amazing stories. Who did it? I mean, I'd like you to be more like wow, you did this and you do this. That's incredible.
Speaker 1:But I feel like when you watch Werner Herzog're like wow, that's a, that's a great story, but also that's a very clearly like a Werner Herzog story yeah, but they probably have an app that like a filter, that's like the Werner Herzog filter no, I mean like his actual saying that and it's like it turns you what you just said into a Werner Herzog film and he like comes on and says the you know very German, yeah, very German.
Speaker 1:Well, where can we hear more about your work? Where can we see your work and what are you working on? What's the next project coming out for you?
Speaker 2:I'll have a uh, a horror film coming out the end of next year. I mean all things. I need some wood.
Speaker 1:Make sure all things happen, everybody's listening. Called the yeti not yeti wood, not yeti wood.
Speaker 2:The yeti, not the coolers, the yeti. It's a horror film. We call it the Revenant in a Box because we're shooting the whole thing on a soundstage in Buffalo, big Buff, and that'll actually be in some theaters next year at the end of next year.
Speaker 2:And then I have this documentary on this beautiful human being, joshua Ray Walker, and I'm hoping that will be following up right after that. And then and I'm hoping that will be following up right after that and I have another documentary which I can't. It's just a really sensitive subject and I don't know what will happen with that. It's going to take its own time.
Speaker 1:Well, keep an eye out for everything coming out next year I'll be everywhere. And nowhere Exactly.
Speaker 2:The Everywhere and Nowhere podcast.
Speaker 1:Gene, thank you so much for sharing everything you've learned, everything you've experienced. I think I've learned a lot talking with you, and I hope the folks listening at home have too, and once things come out again, we'll have you come back on. We'll do a retrospective.
Speaker 2:Yeah, we'll be like where did?
Speaker 1:you go, and where didn't you go?
Speaker 2:Ah yeah, thank you so much, man, that's really sweet.
Speaker 1:Well, thanks for everybody who's on the other end of this microphone for listening. Uh, we'll see you in the next one, take care. Thank you for joining us at the cfa studio for another series of the anywood 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 from the cfa network.
Speaker 3:Cinematography 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. For more information on fiscal sponsorship donations because we're tax exempt now, so it's a tax write off and upcoming education, you can email us at contact at cinematography for actorscom. Thanks,