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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
When To Make Your Own Films: JJ Hawkins Talks Creative Empowerment
What happens when an actor decides to take control of their own narrative? Join us as we sit down with the actor, producer, and writer JJ Hawkins.
On this episode we discuss facing the challenges of limited trans roles in Hollywood and realizing the power of creating their own content. We explore the importance of self-advocacy and how stepping into the roles of producer and writer can help indie filmmakers break through industry limitations and define success on their own terms.
This episode is a celebration of creativity, collaboration, and the unwavering belief in turning dreams into reality, all while learning and growing through the collaborative journey of independent film.
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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."
hello and welcome back to the indie wood podcast, a podcast about independent film and the many hats independent filmmakers have to wear in order to get those films made. This is a podcast about talking to creatives who wear many different hats, who are multi-hyphenates, and in this discussion with these amazing filmmakers and actors and directors and writers and everything under the sun, hopefully we'll, you know, shed some light on how to be a better multi-hyphenate. With me this week I have the wonderful, the extraordinary actor, producer, writer, jj hawkins that is me, hello, hello, welcome to be here again.
Speaker 1:Welcome back to episode two that we're recording the following week I just love this shirt, yeah over it it's. How do they do it with, like, the great british bake-off, where they like always wear the same clothes and they're like, oh yeah, like let's go do the next thing, the next event, but it's the same clothing. And and they're like, oh yeah, let's go do the next thing the next event, but it's the same clothing and clearly this is three days later.
Speaker 2:Yeah, so this is the only outfit I wear. Welcome to being a multi-hyphenate. Do you feel like they just have a whole laundry department? Oh, they must, they must. They're not washing their own laundry. They ain't got time. Their scones are in the oven.
Speaker 1:Buy three versions of the same shirt.
Speaker 2:Also that I would do that.
Speaker 1:I'll have to ask. But speaking of asking, I want to ask you a lot of questions, because the last episode we talked a little bit about your journey and then you coming to this point in your life where you're like I'm going to make my own stuff.
Speaker 1:And I don't know if we really touched upon that mental transition, maybe the spiritual and emotional as well, but uh, you went from. Well, I guess we kind of did a little bit. You mentioned that you were like I'm only an actor and if I do anything else I'm gonna fail. And then eventually you came to this, this kind of foundation or baseline or existence, where you were like no, no, this is going to make me a better creator. Yes, and so can you tell me a little bit more about that like emotional and physical and spiritual transition that you had, where you were like I'm only going to perform, to let me do everything else yeah, I can absolutely talk about that.
Speaker 2:Know, I didn't actually think I would fail doing other hyphenates. Of course not. I just resented the fact that I felt I had to oh, interesting, resented it. So it wasn't even about my competence or anything.
Speaker 1:See, that's me projecting on you. Yeah, Because I'm like I'm going to fail.
Speaker 2:No, but I think that's a common experience and I certainly have experienced that as well. Just the like original first reaction was like I shouldn't have to do this. Yeah, so I came to LA being like I'm an actor, I'm an actor, this is what I do. I'm a performer, I'm trained, I'm good and that's what I want to do. That's where I'm going to be successful, that's where I'm going to have my career. I'm going to, you know, fucking change the world. But then it felt like the.
Speaker 2:The true experience that I felt was that I hit a glass ceiling and that it was suddenly I. There were no more trans roles and and despite the fact that I do not have to only play trans roles, it it was almost like that's all that people thought of, for me, at least on this like again, I was doing CBS shows, cw shows, so I was in the studio television world system, yeah, and so it's almost like. They're like, oh, yeah, even though I had met with and become friends with damn near every single casting director in the city, they were all which I thought was like wow, this is amazing. It was like I was only in their head for trans roles. It's like, of course, there are exceptions. I got some friends out there who are like I'm trying to put you anywhere, but then it's hard to be again, whatever actor deals with that.
Speaker 2:We talked about of marketing yourself, which is like it's really a good marketing tool to be like. I am this minority thing, so you know right where to put me. If a trans world does come across your desk, you better call me. Yeah, absolutely, I better be on that short list. But what? What about me?
Speaker 2:can't play any any other rules right and so I, I hit this glass ceiling and was like why did the rules dry up? Why did they stop calling me in? Oh, it's because, like, trans roles aren't being written especially. There was just kind of like a heyday, I feel a few years, when me and all my trans friends I I, we're all friends, we all know each other in the industry um, we're all playing these roles that were like my name is trans and my pronouns are sad and depressed, like we didn't have like backgrounds or like depth or like oh, this is a character who's dealing with all this, and there's a layer that they're trans.
Speaker 2:It was, that was the character, that was it, it was and, and so it was feeling like I came here to be an actor, I want to be an actor and that's what I'm good at and that's what I can do. And yet, there, the the roles have stopped. Here I am getting all these roles, all guest star roles on these big shows. Why hasn't that led to my series reg?
Speaker 2:or whatever you know these types of thoughts. There's just like, oh, because there's not really many trans roles in series, reg roles, and apparently those are the only ones I can play Anyway. So I, and whenever I would vocalize these concerns, I would be like you got to make your own stuff, you got to write your own content. Then I was like why do I have to do?
Speaker 1:that.
Speaker 2:Why do I suddenly have to do something else? Yeah, why do I have to be the one to break the glass ceiling?
Speaker 2:And I think I just needed to get through my time of resenting that fact that like you know a similarly placed and similarly like credited person who is not trans, probably wouldn't have had to feel that way, especially someone who, like me, otherwise I'm like a white dude, right and so it's like, oh, if I weren't, well then I probably wouldn't be, like, I just need to write a role for myself, even though that may not be true. So still, that's, that applies to people. Maybe you just have to write your own role, but anyway. So once I got through the resentment, I was like okay, well, what I actually want to do, I feel like I had made friends with, like, I feel like I kind of kept pulling the rope back.
Speaker 1:This was the sensation.
Speaker 2:I was like as an actor, I was like, oh you know what, like being friends with like casting directors, that's what's going to help me get a job.
Speaker 1:Right.
Speaker 2:And then it's like casting directors are like well, actually, we, we don't choose the roles, we can only cast the roles on our desk, okay, so it's like okay, so, I want to be friends with writers. Writers will start writing roles for me, which has happened. But then it's like oh, but we can only like produce the things that the producers choose like that gets greenlit.
Speaker 2:And so I was like so it all comes back to these producers. Producers are the ones being like yes to that and no to that, right? And so I was like that's where I want to go. I want to be the one saying yes or no. And so I started reaching out to these connections I had and I was like hey, I want to be a producer. How do I do that? And everyone was like you just start.
Speaker 2:And I was like I can't, like I don't know, shadow someone or maybe get mentored and they're like no, you just jump in they're like you got a short film and I was like I mean, I did have an idea for a short film that actually I I was inspired. What well? At one of our stupid cupid um premieres or showings screenings there was. There was another short there that really inspired.
Speaker 1:Me do you remember was it at uh dances with films? It was at dances with films.
Speaker 2:Okay, yes, yeah and there were I think it was australian and there were these, was it?
Speaker 1:the nail salon. Oh my god, I love that. Yes, what was it it was? I forget what it was called short nails.
Speaker 2:That sounds right. I can't remember the title, though yeah but I mean it was so funny and the whole premise was just these two dudes getting their nails done, and but they're talking about their lives and it's two characters and then the two other characters of the woman who are doing their nails, but it's one location, two friends and just their banter is funny.
Speaker 1:Two camera angles Literally two camera angles.
Speaker 2:And they're in a cute little you know like location, the setting is cute. But I was like this is a great short film, like you don't have to be like explosions, car chases, like to make a good good film at all. So I was really inspired by that and I remember being like I could write, write something like that, and so that was where I got the idea of like I'm going to write, just uh, and and what I went in with it as a very producible script, yeah. So I was like I, this whole thing, I just want to learn how to produce.
Speaker 1:So uh, two things. I have a question. And then, uh, uh, observation it's funny that, with stupid cupid, that led you to the festival dances with films where we screened, to then see that film, to then making your own, yes, which is, I think, a fascinating thread to follow through, absolutely. And then the second thing.
Speaker 1:It was about right, yeah, we're, we're, we're unpacking the um, the, the history unpacking our history finally right, uh, what makes the question was going to be as a producer, what do you think is a producible script, after having gone through the experience of making a short and now producing features which we'll touch on later in the series? But what constitutes a producible script for you?
Speaker 2:So, especially at that time when I was like learning how to produce, I was just like things that made sense to me, so I didn't, I didn't quite know that was the whole point of the project.
Speaker 2:I was like you're gonna teach me, I don't, I don't know project, what makes a producible script? But I was like two characters and the location is my apartment yeah, so I've already got the location set, I already know the actors who are going to be playing me and my best friend spoiler alert it's me and my best friend and and I have enough connections in this industry that I can just ask people around me. So I didn't feel like I needed a big crew. I didn't feel like I needed, I mean, and it was all. It was really dialogue driven.
Speaker 2:So, we didn't even really need to change like much at all. I mean, it was very simple and straightforward, but the dialogue itself was fun. There was a heart, there was a story, there was something to say. So I think that that is still something that can almost be overlooked. It's like oh, this is so producible because of all these like logistical aspects, but still make sure, like every film has something to say, and with those minimal guiding lights, you, you can make something happen.
Speaker 1:You know, keep it simple have something to say yeah literally one of my favorite films that I've ever done was a short film that I did. I was the director, I wrote it, I shot it and it was one other actress.
Speaker 1:That's it, yeah and it was two separate scenes where one of them was this, this conversation between two people on a first date, and it was just a pov shot and that was the baseline for all the dialogue. And then the second scene we shot was this kind of juxtaposition to that happy moment and one of my favorite projects I've done so far. Ever since that moment I've been trying to recreate that magic of just simplicity and then perspective.
Speaker 2:Yeah, simplicity and perspective. Are y'all taking notes, you better?
Speaker 1:Well, it's recorded, so they can just go back rewind grab your notebook and take those notes.
Speaker 2:Yeah, yeah I. I could not resonate with that more and and then I got to turn that like you know resentment that like, why do? I have to write my own things on its head and I got to be like I don't know what's your dream role yeah, I'm excited.
Speaker 1:Now, what do you want to do? Excited Like. What do you want to do Like, oh, my God, what do you want to say? The possibilities are endless. Yeah, so with that kind of nugget at Dance With Films, that became a short film called the Golden Boys. That became a short film called the Golden Boys. That's exactly right. So the Golden Boys, tell me more about the Boys.
Speaker 2:I'll tell you more about the boys. I'll tell you more about the boys really cool. So again, I was like what's a character that I've always wanted to play, and call me crazy, but my dream role is as the dynamic best friend, like I just want to be there hyping you up, because that's my role in life I am the dynamic best friend but not just to be a best friend.
Speaker 1:Again, dynamic is an element very authentic if, uh, if, people listen to the previous episode.
Speaker 2:Oh yeah, yeah, we talked about authenticity yes, exactly, and so and then and then from there I kind of almost turned a conversation or or it's kind of a slice of life, but you know, a bit 10 minutes slice of life of like kind of a conversation I've had with Myself. But my best friend then was playing the character personified by this almost dialogue in my own head, so it's ultimately also it's a comedy. That was just another thing. That was I was like, oh, do I get to write Whatever I want? People are gonna laugh. It's like I feel like the most important or a very significant way to like further someone's. You know, again I'm thinking of a community, a minority community. The trans community is my community. But like, any way to like get people to listen is through laughter.
Speaker 2:It's like I want you to tell our difficult stories, because those do exist, but I also want you to like laugh with us.
Speaker 2:I also want you to see that things are funny. We are funny, we're oh my God, we're humans Shocker, and so it was important to me that it was a comedy, and then from there it did have like a crux of like heart, where it's two best friends getting ready to go to a party and I'm, you know, my, my best friend comes over and I forgot to tell him that it's actually a twin night and so we're trying to wear the same outfit.
Speaker 2:I'm like okay, we got to get together tonight and that's. That leads to some hijinks and some fun, but the whole time he's kind of dealing with something. And then he, in in the climax of the film, is like actually, this girl just broke up with me and we've been dating for a while and now I have to like face the world, like dating as a trans person, and dating as a trans person is terrifying and awful and scary. And then the best friend got to be there and be like hey, yes, it is, but also I love you. Let's go celebrate our friendship tonight and like then it's just a celebration of kind of like trans brotherhood and it's like hopeful but ultimately still like ending on on a humorous note and they're they're friends a la the golden girls.
Speaker 2:So we and my character is obsessed with the golden girls, totally not based on me at all and so I so we named it the golden boys and that comes up in there too. So it's a little piece, it's a little funny piece of heart. That's what it is Really, really sincere and really cute. But yeah, in my apartment, filmed in one day, me and my best friend, boom, right, very producible. But also my intention was that I wanted to learn how to produce, so, even though it was just in my apartment, I wanted to do the whole thing, and I think people who are doing small projects should do the whole thing.
Speaker 1:Yes, because it is a learning process and that's exactly what I was going to say.
Speaker 2:So, even though it was in my own apartment, I still went through the whole process of getting insurance, getting permits, like every dot and tittle, as they say, and I had a lot of people be like you didn't have to do that because that costs money permits insurance money and they were like it was just like you and some friends in your apartment, like you didn't have to do that.
Speaker 2:And then by the time I got to my first feature next I was so glad that I had learned how to deal with permits and insurance on a way lower stakes project. And I think that's a thing a lot of people overlook is it's like how do we finesse the system? And it's like, of course I'm all down for like save money where you can, but there is a point where it's like the biggest, like pro, the biggest thing that like short films give you is a place to learn, and I think people really kind of overlook that and it's like, if you haven't done that on a smaller scale, how are you going to do it on a bigger scale?
Speaker 2:like, treat the small scale as big as you want to go and the big thing will arrive.
Speaker 1:That's, that's like my reasoning, you know and not just from the perspective of a producer, writer, director, cinematographer, because some people will be like I'm a director, I'll just get together with some friends, like I did not do the prep, the storyboarding, the whatever, just show up and be like I don't know, we'll figure it out. That is such a low stakes project, like you said. You could then do that, make mistakes and mess up, but learn how to do it better for the big thing exactly. I do want to ask the steps that you took from, like, a production standpoint, because I know you have this, this change. You're like I can be a creative in any way, I can let me write this amazing role for myself, but then, as you were learning those individual steps in a low stakes scenario or environment, what was most important for you, looking back on it, to learn about the filmmaking process?
Speaker 2:Wow, I think probably the first thing that comes to my mind is um, the possibility and that. Let me define that. I think it was an absolutely crazy experience coming from an actor's standpoint an actor there's so much left to chance and you're just waiting, a lot of waiting, a lot of waiting for the right role, the right time, the right people, the right room, the right character there's a lot of waiting, and it was an absolutely mind-altering experience to be like no one stopped me. I was just like I'm gonna produce.
Speaker 1:And everyone was like okay.
Speaker 2:And then I was like okay, we're gonna film on this day, and everyone was like okay. And I was like, wait, that's it. And I'm again submitting for the insurance or for the permit or whatever, and no one's like you're a fraud like I don't know.
Speaker 3:Whatever you like, you can't do that. You did it all wrong and it's like no, all of this is very learnable.
Speaker 2:You just have to like do it, and it was. It was very freeing, it was very empowering to just be like oh, this is on my timetable, this is on like again, I learned the possibility and there are some hard skills, plenty of hard skills, and I learned those and continue to learn those throughout the films I've done then and since and everything. But it's like. I think that was the biggest and most important thing I learned and something that I think a lot of people, especially when they're first here or especially if they're actors, almost feel this like it's in other people's hands. And to like, really embody the experience, to really learn like no, it, it can be in my hands. Yeah, I can actually just say, but I want to play this character and I want to learn how to produce and I'm going to, and it's a beautiful thing.
Speaker 2:My favorite thing about film is that it's a community-based artwork and there's like I mean theater too, but it's like there's virtually no other art. You're a painter, you're a writer, you're doing those things by yourself. Film needs a community. You have to have so many people to help build the same singular piece of art and to me, me, that's awesome. I am a huge like community member. I'm like all about my community, and so it was also like, oh my god, we together can like build something that's better than the sum of its parts and like, how, how fucking cool to be a producer and be like, just because I decided that this story was worth telling, look at all my friends who got to do what they love for a day. Look at my friends who all got a this little job. We got to have fun today, like just because I was like let's do it, yeah, and and that's like such a cool thing to learn, it's such a cool thing to experience.
Speaker 2:It's like talk about a high when you're like oh I, I could do this.
Speaker 1:It's funny you mentioned me a community and like a village. That's what it takes to to to create film and to create, you know some more uh. Coming back to episode one, where we talked about making a film like giving birth, and there's that old adage, yeah, where it takes a village to raise a child, and it does take a village to create a film.
Speaker 1:Even if it's a village of two, it still takes a lot of. You can't do it on your own, and I mean sure you can probably do some weird visual lookbook with music on it.
Speaker 2:It's still that's still a film, but the like a narrative piece with stuff in it.
Speaker 1:It's a it's you need. You need others. Yeah, you need other people. Well, speaking of like, getting other people on board, giving them a call is one thing, but also kind of funding, it is its own challenge. So, for the golden boys, I remember you did a little bit of a. You crowdfunded for that film how and that was your first crowdfunding attempt yes, it was successful.
Speaker 2:It was so. I'd love to hear more about you going from what do I do to then having money to to get permits, to get insurance to get right, people paid and food and yep yeah yeah, and it is very important to me as a producer because I've been an actor for so long it was, it was very important to me that everybody gets paid.
Speaker 2:If you're on a set with jj, you get paid, like I want. I wanted that to be like my starting. I mean that was just like something that was so important to me and so, yeah that. I mean, even a small producible film in my apartment requires a lot of people, and I actually got this idea from a friend of mine, but I did a special little hack, which was I paid for production upfront, that's credit cards and then crowdfunded for post, but actually it was to also repay myself.
Speaker 2:so people are a lot more willing to fund things when they are done there is something about like it's been filmed. We just have to finish it. We just got. Look at all these pictures from sad it was so beautiful.
Speaker 2:We made sure that there were trans people all over that. We were just like look at this trans mask powerhouse, look at us all. Come together, all ins and outs, and being like this is what you're supporting, we just gotta finish it. But actually it was to also repay everything that I had spent for production but it paid off, yeah and again lower stakes yeah this.
Speaker 2:It wasn't a huge budget film. I it was like, with the amount I had, it was a couple thousand dollars. It's like that's not I mean that's a lot, but it's not like a lot. You know you're not gonna die, yeah, but I also I mean that's. That's why it's so important to like listen to yourself. I was just so sure that I would be able to raise that money. I was so sure I didn't. I didn't have a moment like of hesitation that I wouldn't be able to and that I would be able to raise that money. I was so sure I didn't.
Speaker 2:I didn't have a moment like a hesitation that I wouldn't be able to and that I think that carries a long way when you're just kind of like I believe this. And so it was also incredible because what I thought was, of course, the original budget ended up going over a lot more, and that's because we had oh my God, yara, we had a digital issue, we had a technology issue Our memory card that had the bulk of the film that day it was formatted in a weird.
Speaker 2:It was formatted incorrectly. I don't know what ended up. We couldn't access it at all, so you had to pay to get it recovered. We had to pay to get it recovered. We had to pay to get it recovered Unforeseen like $2,000.
Speaker 3:And wouldn't have been able to.
Speaker 2:It was so much but it had our whole film on it. We were like we got it. Oh, it was so stressful, we didn't even know if it would work. Blah, blah, blah. And also there were cheaper ones, but we went for that.
Speaker 1:We were like no, we want to make sure you want to make sure you got all the footage.
Speaker 2:Yeah, we wanted to make sure it was dealt with well. So, yeah, we ended up um being able to raise the funds for that, because it was like, oh, this was an unforeseen, so it's not just paying back production. It is also like paying for these things I didn't see.
Speaker 1:And then and then some which was amazing ended up raising just over fifteen thousand dollars, which is so cool. Yeah, that's so cool. That can happen. Also, spend that money, and this is things we talk about. Um, in the life of a film, you know, when you produce a film, you pay for the production, but people don't know that there's pre-production costs, there's post-production costs. Oh yeah, there's also like marketing, post-production costs, like the like, the marketing of the film covering festivals covering travels.
Speaker 1:Yeah it all costs money, one thing that I always keep in mind when thinking about managing digital data, not to talk about boring bits and ones and zeros, but people do sometimes. Sometimes, instead of getting the bigger cards, well, they'll pop it in like I can shoot all day, they'll do like the smallest cards possible where, like, you have 10 minutes on a card, yeah, but they'll have five of them, yeah, and then you just pop them in and out all day, yeah, and if one goes, you're missing probably a couple takes instead of a whole day, right, and uh, I I've started to live by that, because people are like, oh, you want a seven terabyte hard drive. I'm like, no, what's your lowest?
Speaker 2:No, yeah, Give me 10 minutes at a time. Yeah, I'm fully translated to that. Yeah, and to just be like my DIT on every set, I'm like you Treat it like a film role.
Speaker 1:Yeah, you are the hero here are the heroes. Yeah, we all need you everything is going to end up on just a couple hard drives and that's scary. Yeah, and I'm the one, I'm the guy who, when I touch a hard drive, it breaks. I just don't know what.
Speaker 1:I don't touch hard, you exist you people exist, and so, uh I, every time someone hands me a hard drive with spinning discs inside, I'm like don't, don't, let me touch, no no, I'm glad you know that about yourself, because I want people like you to tell me that you will not be touching the hard drive. Yeah, it's a hard, hard uh learned lesson, unfortunately, it's true.
Speaker 2:Some people just have the aura of messing up.
Speaker 1:I'm like magnetic or and especially if it's a big hard drive.
Speaker 1:Oh, man yeah, what was the coolest thing or maybe that's the coolest thing, but what was the most interesting thing you learned about yourself as a creative and as a producer and as a writer and as an actor through this process of making a film? Because I always think and I've heard other people on the pod say this everybody should make a film. Yeah, I've heard other filmmakers say this, and it's this idea that everybody should attempt to make a film. Yeah, no matter who you are as a creative director, cinematographer, writer, producer, group because it teaches you a lot about the process. So what did you learn from your process? About making the Golden Boys?
Speaker 2:That's a great question. What didn't I learn? Like I said, there was a big learning of like oh, this is what. Well, specifically about yourself about myself. You know what I learned? I learned I love to be a leader. I love it. Give me that power.
Speaker 1:You know what I mean.
Speaker 2:But it's like it feels so like put me in charge because I, I like, want to give that power back to those who deserve it. I feel like there's such a power in being the producer and being like I've worked with you and you get to be here and my favorite compliment that I got on set was just how much people loved the other people on set.
Speaker 1:They're like oh, this is a great set.
Speaker 2:And I'm like that's what I wanna hear, because what is set, it's a party. And what have I always done? Thrown parties. I love hosting parties and that's the energy, the host the producer feels like the host. It's like I've brought you all together. I provided food and entertainment.
Speaker 1:Make a movie right now we're gonna play a game. The party is, we're making a movie. Yeah, the game is, we're making a movie. Yeah, I like the outlook. I like like that, because some people don't do that. Some people are like you're here for a job, you're going to work, we're going to do 12-hour days and you're going to love it. Yeah, and to each their own.
Speaker 2:I mean, those sets exist for people like that. So I'm glad those sets exist. As for me and my house, as for my sets, it's because we it's it's most important that we're having a good time, yeah, that we like love, who we're with, and, again, it's like it's a piece of art that we're all making together, and I think everything that's felt off camera is shown on camera, whether it's like literally, like in the quality or just in like the energy it's communicated on set, I mean on camera, like what happened on set.
Speaker 2:yeah, I think I think it's felt, I think it's communicated on set, I mean on camera, like what happened on set. I think, I think it's felt, I think it's palpable and I think, when, when, like the set is happy, the film benefits from it in ways you can't really like put a finger on or a number two you know, I agree, I agree.
Speaker 1:So everybody listening at home go make a movie.
Speaker 2:Even if you're a receptionist at a salon, even if you're a ceo, especially if you're a receptionist, I think I want your story.
Speaker 1:There's a really cool story there go make a movie, go do it, go make a movie and and learn some stuff about yourself and use it as a learning process for other things, because you will learn other skills and other things about yourself that are gonna change your life, I think yeah, literally go have a baby, a creative baby yeah well, I want to talk to you more about creativity and I want to talk to you about writing, which you've been doing a lot more, as you've been producing bigger film, big, bigger films and bigger projects.
Speaker 1:But I think we'll save that for episode three but for this week. Thank you for coming on the pond, jj, you're so welcome. Thank you for listening and we'll see you next week, see you. Thank you for coming on the pod, jj, you're so welcome. Thank you for listening. We'll see you next week, see you. Thank you for listening to the Innywood podcast. You can find the podcast and anywhere you find your podcasts or on the CFA YouTube channel.
Speaker 3: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. 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 cinematographyforactorscom. Thanks.