When we filmed “Lights in the Forest V-Raiklen,” I had to guide people to film their own videos. Read the suggestions we offered to get the best shots!
Filming during a pandemic introduces a lot of new challenges rarely have anyone of us had to face, but still, we wanted to make a music video about this experience! Since we couldn’t be together to film – and because we knew we needed a lot of different shots to keep up with the fast-paced music – we had to give very specific guidance for filming to assure we got enough options that could work for the piece. My producer and I reached out to people we knew around the U.S., Canada, and Australia to ask if they’d be willing to ‘press play’ on the music and record themselves doing anything – dancing, jiving, playing an instrument, interpretive, you name it.
I gave clear directions to each person about lighting, shot sizing (horizontal – not vertical like an Instagram story), and then asked for variations. To get their brains thinking outside the box, I described various things each person could do with their camera to assure we got moments to work with (most people were self-isolating with someone to hold the camera, so that helped out a lot).
Some suggestions I gave:
get different sizes of shots (close ups…wides); and make sure it’s shot in 16×9 (NOT 9×16 or Instagram story size – this is a toughie to get people out of this habit). We also tried really hard to get 1920×1080 but beggars can’t be choosers 🙂
play with angles — show us just your feet or just your hands, low angle, high angle
As for the locations – it was important that it not be in a crowded place – we are social distancing remember! But this also meant that they’d probably be shooting in their homes or front yard, so we asked people to actually clean up their spaces! (Or we made them do it again if they didn’t…) With a simple environment, our eyes will only focus on the person in the frame moving; and with such quick shot edits, we have to tell the viewer EXACTLY where to look in the frame right away.
To that end – we needed movement. If someone recorded themselves just sitting playing an instrument – oh no, that wasn’t good enough – get up and ROCK with us! Or jive to the music as you play!
And for the dancers – I suggested that they try using their phone as a dance partner – that footage actually turned out really cool!
It’s important to note – while this was all great guidance, we were actually pleasantly surprised of how many people took these ideas and literally ran with them! We had a dancer know we needed a stoic backdrop, so she danced across the frame next to a monument in Minneapolis. We wanted to see people in face masks, so a friend of mine and her sister headed out to the beach to dance in front of the ocean while wearing masks! There are so many more surprises we saw in the footage than we could have even imagined – which made this piece even stronger and more special. People were truly being creative!
Did a filmmaker ask you to give them notes on their film project? Or, did you ask others for notes on your film? Read on for advice on giving and receiving notes – it’s a skill!
I’ve asked a lot of people for feedback on my films, and it can be a very vulnerable experience. I mean, I’m asking someone to judge something I’ve worked very hard on, but I know it will only make the project better.
The real reason a filmmaker is asking for notes is to see if there is something glaringly bad/weird/strange that they or their team just didn’t notice because they’ve seen it so many times…They also want to know if their goals with the piece or the story are in fact coming across!
For example, when we hear something like “this shot bumped for me,” or “I was confused by this moment,” then we must take a look at that section. This is especially prevalent if this note is repeated about the same area of the film – time to open it back up to figure out what’s going on.
Insider secret – sometimes if a moment or a scene isn’t working, you may need to actually look at the scenes immediately before it to see if there’s a problem there. Maybe the payoff isn’t working because it isn’t set up well enough?
And, often people will give us filmmakers their own ideas on how to fix a problem. So we smile, take it in, and go back to our own drawing board. No disrespect to the note – I mean, we asked for it. It’s just that sometimes notes can be a reflection of what someone else would do with the footage, or maybe it’s just their personal take based on their past personal experiences (for example, I am very hyper aware to gender bias – so this is included in all of my feedback – it’s up to the filmmaker to decide if this is important to them, too…but, it better be…). The important thing is to use the notes process of filmmaking as just that – a process. It’s a stage of post-production you must plan for.
So, the secret to receiving notes is to hear all of those notes and ideas, and then take away what works best for you and your vision. Sometimes I like to ask people for feedback and tell them nothing about the piece, so I can get their honest first reaction. Other times, if I know this person is familiar with the piece, I will tell them my goals and ask if they feel it’s coming across (and then ask their suggestions for making it better).
credit: unsplash.com
Never take notes personally! I’ve received some very painful notes in the past: “I honestly don’t know what’s going on here” “It feels very claustrophobic” “I find the main character very self-serving” (the main character was me – don’t worry, we fixed that). Ouch, right? We’re putting ourselves out there, people! This is the thick skin part, and frankly, this is what sets us apart. We’re putting ourselves out there and willing to do it again and again. [Look out for a Blog post I’m currently writing on handling rejection…on a daily basis!]
Back to the art of giving notes — Just be honest. You can try that compliment sandwich (good note – constructive note – good note), but we all know what you are really doing…tell us what you like, what’s working for you. And, then tell us what bumped for you. Yes, “bumped.” Best word for this. Then tell us what questions you have while watching the film or you have after watching it. You can try to figure out our intention or try to figure out solutions, but wait for an actual notes call to do that. Oh! And always, always, include timecode or timing of where the moments are you are referencing. Do NOT leave it to us to figure out ‘that one shot that took too long.’ Oh no. Please don’t do that.
Then, we will take those notes and work through them. We will go to our team to ask their interpretation of the notes. Maybe we’ll even ask you to get on a notes call to specifically ask what you meant by certain things. When I’m on a notes call for a colleague, I usually ask questions of their intentions in order to offer suggestions or ideas for editing. Sometimes, just helping a filmmaker think outside the box or brainstorm can get them to come up with other solutions for a scene. But, do keep in mind, we will not normally be next to someone while they watch the film to explain our intent of certain scenes, stories, or shots, so we must rework a scene until it is truly saying what we want it to say.
And, I beg of you – refrain yourself from saying “make the movie you want to make!” Sure, but if the whole audience is dumbfounded while watching it, was that really the message I wanted to send? If so, then great, but it’s likely not.
Yep – there you have it! The art of giving & receiving notes. As always, you can “take ’em or leave ’em!”
Do you have any notes to add to this post? I promise to not take it personally…
Over the past 4 years of filming Pioneers in Skirts across the U.S., I was able to meet people who had the kind of influence I’ve come to hope my films will have on an audience. I want my movies to have meaning and impact. Starting with Pioneers in Skirts — I want it to influence minds to want to achieve gender parity in our world. I want people to feel open to talk about these issues and to understand what they can do right now to change them. I want all of this because I see what the world would look like if we didn’t, and I try to show this in the documentary. If we don’t do something now, then these cultural issues that affect women and girls will perpetuate generation after generation. We ALL can and must do something now.
As a part of my series about pop culture’s rising stars, I had the distinct pleasure of interviewing Ashley Maria. Ashley is a filmmaker based in Los Angeles, CA. Winner of the coveted Directors Guild of America (DGA) award, she was also featured by the DGA Women’s Steering Committee as a director who represents The Future of Women in Film. When she’s not running her own production, she is a directing instructor at UCLA. Very recently, Ashley was selected as a North American delegate to attend the United Nation’s Commission on the Status of Women — the principal global policy-making body dedicated exclusively to gender equality and the advancement of women. Her first feature documentary, Pioneers in Skirts, is in post-production, set to be released in the Fall of 2019. The film follows her own journey to understand the bias and sexism women confront in their careers and what we ALL can do as a culture to evolve past it. If you can’t find Ashley on a film set or behind a computer screen, you can find her on the court playing competitive dodgeball! To learn more about Ashley, please visit www.ashley-maria.com.
Thank you so much for doing this with us Ashley! Can you tell us the story of how you grew up?
I was born to a single mom who raised me on her own until, when I was about 10, she married a man who became the Dad I love.
Some of my favorite memories as a young child were reading Goosebumps books in the back of a clothing store while my Mom worked her evening job just so she could afford to pay for childcare during her day job. It never felt like sacrifice. She made it feel normal. I learned that we must work hard for what we want. This was a great example for me at a time when — as a young ambitious girl — I was starting to think of what I wanted to be when I grew up. I was picturing myself in a business suit in the tallest corporate building.
Now I craft stories of those kinds of women from the comfort of my own home in jeans and a T-shirt.
Can you share a story with us about what brought you to this specific career path?
I have proof that I was grabbing my Mom’s camera at the age of 4! (this footage is in my documentary film “Pioneers in Skirts!). She was always filming our lives — and I was always borrowing her camera to film everything else.
I never really understood that filmmaking could actually be a career until I was in college. I stayed the course and, after obtaining my undergraduate degree in Communications from UNC-Chapel Hill, I decided to apply to one of the top film schools in the country — USC School of Cinematic Arts.
It was such an exciting day when I was notified of my acceptance! And, even though USC believed in me, I have to say that I truly wasn’t sure if I was a good storyteller because not everyone seemed to get my weird sense of humor. I cautiously stayed with my ‘weird’ and wrote and directed my first student film as a comedy-horror. “Friday Night Fright” went on to win the prestigious Directors Guild of America award, and from there, I had no doubts I could tell good stories and, in turn, jumped full force into directing.
Can you tell us the most interesting story that happened to you since you began your career?
I’ve had a lot of “Little Ashley would be freaking out right now” moments just being in Hollywood. Meeting Tom Hanks and working for him was one of the best! I was an intern during the filming of his movie Larry Crowne and got to be in the production office as they finalized details for the shoot.
Tom was both directing and starring in this movie, so he had to make all kinds of decisions, including the kind of camera used for a scene. One day, the crew brought in a body camera to be used on Tom for a scene where his character breaks down emotionally. So, I watched as he got into character and all I could think was “I’m watching Tom Hanks act right now!” Then he walked around the room, stumbling, and stumbled into a chair. I was then motioned to become the person to “dolly” him around the small production office (pushing him back and forth). I played it cool, but was totally screaming on the inside. I was part of a (pretend) scene with Tom Hanks!! Definitely one of my coolest film moments!
Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that?
During the early months of making Pioneers in Skirts, I was often finding myself a one-woman show. When the U.S. IEEE engineering organization gave me last minute permission to interview its members at an event, I grabbed the equipment I owned at the time and set up multiple interviews around the conference. Everything was going well, until my rather cheap tripod decided to unlock one of its legs, taking my expensive camera to the ground with it. The camera went down lens first, shattering the filter into a million pieces. I just stood there in awe. It all happened so fast, and I felt so hopeless! But, surrounding me, the engineers went into MacGyver-mode! As I was picking up my camera, engineers were looking at my tripod to figure out what went wrong and what needed to be done to fix it. I mean, the top inventors of our time were fixing my low-budget production equipment. The $20 filter was a lost cause but, wow — I felt so well-taken care of.
So, the lesson here is — unless you’ll have a bunch of engineers around you all the time, buy the expensive and more-reliable tripod!
What are some of the most interesting or exciting projects you are working on now?
I will soon be premiering my first feature documentary I directed, Pioneers in Skirts. Its story follows my own journey to understand the real and unique challenges women confront in their careers today. In the film, we discuss sexism, gender bias, stereotypes and so much more while also providing solutions we ALL can implement now to change things in our culture and the workplace. I’m very excited for this movie to premiere because I know it will help to advance the conversation about these issues. It has already proven to reach across aisles to move us along. After test screenings, men tell us they are relieved to not be portrayed as the perpetrator, and they have actually lined up to ask what they could do to help our film make an impact in the workplace, schools, and the community around them. I’m so excited to bring this movie out into the world!
We are very interested in diversity in the entertainment industry. Can you share three reasons with our readers about why you think it’s important to have diversity represented in film and television? How can that potentially affect our culture?
I’m a huge proponent of diversity in the content that the entertainment industry creates. I have seen first hand how our culture itself is influenced by what we see on television or in movies. I’ve been affected myself and have even seen my own storytelling evolve as I’ve learned to analyze my own biases ingrained in my thinking. I believe that diverse stories lead to more empathy toward others. Media has the power to influence positive change by showing us how other people experience the world around them. We can be much more similar than we realize. It’s important to normalize diversity as well and this can only happen when there are more and more stories told by diverse people about diverse people.
What are your “5 things I wish someone told me when I first started” and why. Please share a story or example for each.
Be curious about all the moving parts. As a director, you should understand what everyone on your team is doing and what they need to be successful at their job. I have worn many hats on my projects and am proud of knowing how to do a lot of the technical and creative roles in making a film. Then, when you have the money to hire an expert, you’ll appreciate them even more (and I know they appreciate the love)!
Understand people want to do a good job so you have to show up for them. We didn’t have much money to make Pioneers in Skirts, so most of our crew worked for free or at a severely discounted rate, and I felt awful always. I was very appreciative, but then paralyzed with fear if I ever had to give a critique. I really struggled with this until I talked to Dr. Hope Hills, a leadership psychologist. She told me that people have agreed to help and want to do a good job. They can only do a good job if I show up and do my job. This helped me so much in working through that fear. I will take this mentality to my next project but hopefully that one will be better funded!
When on set, don’t assume production will have anything you need! Bring your own water, food, sunscreen, band-aids, bug spray, you name it. Take this seriously. It has helped me on numerous occasions to have a bag of nearly everything within my reach when on location in the middle of nowhere!
Make time to fall in love with movies again. And appreciate those that make you forget you’re watching a movie! Once you’re in the nitty-gritty of making movies, the magic will feel like it’s gone. So, carve space for you to watch movies and get lost in them. That’s why you’re here after all!
Take your safety seriously. When you start out in this industry, it’s easy to work constantly because you feel that means you are a team player. It doesn’t. You’ll only burn out and maybe hurt yourself! Demand a full night’s sleep. Demand a day of doing nothing. Demand better pay. And keep in mind, that the person you are demanding these of may just be yourself!
Which tips would you recommend to your colleagues in your industry to help them to thrive and not “burn out”?
I would suggest understanding what burn out looks like for you. I don’t really think there’s a way to avoid burn out honestly. We’re all here because we have passion and are obsessed. None of us have normal schedules. None of us can create some normal routine that is consistent week after week. No way. It’s about listening to your body when it’s telling you something is wrong. Can you afford to get away for a week? Can you shut everything off for just a day? Or can you look at your to-do list one at a time instead of the dreaded multi-tasking? I think thriving is listening to what your body and mind needs every day. Oh, and drink lots of water.
You are a person of enormous influence. If you could inspire a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. 🙂
Over the past 4 years of filming Pioneers in Skirts across the U.S., I was able to meet people who had the kind of influence I’ve come to hope my films will have on an audience. I want my movies to have meaning and impact. Starting with Pioneers in Skirts — I want it to influence minds to want to achieve gender parity in our world. I want people to feel open to talk about these issues and to understand what they can do right now to change them. I want all of this because I see what the world would look like if we didn’t, and I try to show this in the documentary. If we don’t do something now, then these cultural issues that affect women and girls will perpetuate generation after generation. We ALL can and must do something now.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
My mother Lea-Ann! She is the producer on Pioneers in Skirts and a constant champion for me in my career. She put her career on hold to jump in to make Pioneers in Skirts because she saw the need for this film to be made (and she saw how I could not possibly make it on my own). She and I have been a team for years now in pre-production, production and now post-production on this documentary. When we started, I was the one who had the education and the experience. But today, my Mom has advanced from getting on-the-job training in filmmaking to being a full-on producer and driving the ship as we reach distribution!
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
Wes Craven, a mentor of mine before he passed away, told me that “Nothing is ever normal, and it’s always a fight” in reference to getting a movie made. Never will we be in a perfect situation. There will always be challenges, so we need to stop playing the victim and join the fight!
Is there a person in the world, or in the US whom you would love to have a private breakfast or lunch with, and why? He or she might just see this, especially if we tag them. 🙂
Steve Martin! Ironically, The Jerk was the first DVD I ever owned, so I watched that on repeat. “Someone hates these cans!” My dad, Dave, introduced it to me. This is another reason I love movies. Our love for a certain movie may really have nothing to do with the movie itself, but have everything to do with the person who introduced it to us. So, that’s a double whammy for why I’d love to meet Steve Martin!
Leadership Lessons from Authorities in Business, Film, Sports and Tech. Authority Mag is devoted primarily to sharing interesting feature interviews of people who are authorities in their industry. We use interviews to draw out stories that are both empowering and actionable.
Originally appearing in the SUNY Canton Magazine on November 20, 2017.
Lea-Ann W. Berst has never been one to shy away from taking risks.
It was a sense of adventure that led her to accept a once-in-a-lifetime assignment for computer giant Lenovo nearly 10 years ago. She was hired to lead a marketing effort for the company’s torch relay sponsorship that preceded the 2008 Olympic Games in Beijing.
At the time, she was living in China with her husband and three children, and working with Lenovo would require an intense work schedule and extensive travel. But, her skills were perfectly suited for the project: prior to owning her own firm, she worked as a worldwide brand manager for IBM and had accumulated more than 15 years’ experience in global activation marketing.
Berst said the job was one of the most challenging of her career; however, also one of the most rewarding. It further fueled her global curiosity, something which she can trace back to her time at SUNY Canton while she was earning an associate degree in Business Management.
She recalled Professor Daniel G. Fay’s encouragement to stay informed about international news, primarily by reading the Wall Street Journal every day.
Berst said she echoes Fay’s advice when speaking to college students about global marketing.
“I start off by asking who has read the Wall Street Journal, and I’ll typically see zero hands go up. Then I’ll explain why they should read the front page of the Journal every day–it’s like a cheat-sheet for what’s going on in the world. It’s too bad they didn’t have a Professor Fay in their lives.”
She also remembers assistant-directing and producing a student play called “The Clumsy Custard Horror Show and Ice Cream Clone Review.” Oddly enough, it was an experience she would draw upon 30 years later when she teamed up with her daughter Ashley to make a documentary film.
Canton’s “The Clumsy Custard Horror Show and Ice Cream Clone Review.” Lea-Ann is at far left.
Years in the making, “Pioneers in Skirts” seeks to answer the question of why women in the workforce experience burnout early on in their career, a phenomenon she was shocked to see her daughter experience.
“When Ashley started making films, she was frustrated about unexpected prejudicial experiences and didn’t know what to do about it,” she said. “I had experienced similar things in my career and couldn’t believe she was, too. So, when she decided to make a movie about the inequality she saw around her, I wanted to help her make this film a reality.”
The film also features interviews with millennial women who share their perspective on the culture of today’s workplace, experts who study gender equity trends, and men committed to advocating for change.
Berst returned to campus with Ashley last year to host a special post-production test screening.
Ashley and Lea-Ann at the SUNY Canton screening.
Looking back on the journey, Berst said that because the movie is financed largely through grassroots efforts, the result is an honest, authentic story that will resonate with audiences, especially those who support women who dream big.
“Documentary filmmaking is a great medium to make a positive cultural impact and tell a good story as you do it. And this is a big story.”
Written by Pioneers in Skirts guest blogger, Lucas Wiseman
Director Ashley Maria has several indie films under her belt, ranging from comedic, horror to immersive films. Ashley has spent the last 10 years discovering and putting into practice some pretty efficient tips and tricks for navigating the world of indie filmmaking. Fresh off of filming pick-ups for a post-production effort, Ashley sat down with me to share her wisdom and experience with others looking to tell their stories via the indie film medium.
Making an indie film with a small team can be daunting to any director, but Ashley’s got 7 tips to make (some of) the headaches go away.
1. Learn To Make a Packing List
When it is time to travel to a film shoot, Ashley makes a precise list of all of the items she needs – and sticks to it. “The checklist lives in DropBox so I can access it from any device, and it includes everything I have to pack for a successful shoot,” she said. “It’s key to create this list beforehand, so when it is time to actually pack, you have less opportunity to forget something!”
She added that she double checks everything the night before a shoot as well, laying it out on any horizontal surface available to her. “If there’s a desk in the hotel room, don’t even try to use it: it’s mine.”
The packing list is non-optional because of the amount of responsibilities an indie filmmaker can have on their set — from running sound and setting up lighting to camera work and prepping the interviews. “If you’re on a low-budget, then sometimes you are the sole person preparing for your shoot. This is why anxiety and list-making are good; you plan for everything that could go wrong!”
2. Rock the Fanny (Pack)
Ashley is frequently her own camerawoman, soundwoman and director, which means she needs a place to store the “hats she wears” and the equipment she needs. “For me, I have a fanny pack, one for all sound equipment and then another for extra batteries and cards. It’s about packing whatever you could possibly need during a shoot and organizing it on yourself so you know where it is the moment you need it.”
The jury is still out on the fashionability of the accessory, but for an indie filmmaker, the fanny pack is coming back.
3. Embrace The Pocket Pat Reflex
Like lesser mortals who keep their phones and keys in particular pockets, Ashley keeps her filmmaking equipment placed consistently on her person. “Habit is incredibly important to managing everything,” Ashley said. “Knowing 100% where something is on your body at any given time is essential.” According to her, keeping her left pocket full of dead batteries and her right one full of their charged cousins is a matter of dire importance.
“I never want to miss something because I accidentally grabbed a bad battery.”
Ashley shudders at the thought of recording over a memory card because she put it in the “empty” pocket by mistake. Luckily this has not happened …yet…*knock on wood.*
4. Be Hopeful, But Flexible
“Always plan out what you hope to get during your shoot. Maybe it’s a line or an interview or a specific shot. Plan it all ahead of time, because once you’re wrapped up in filming, you’re gonna forget. Being able to look down to your printed list (yes, list!), your mind will get back on track to the day’s goals. It’s all about pre-production. But then, be flexible! You’re probably going to have to lose some of those shots or interview questions because of timing, so know exactly what you need in order to make your day.”
A bonus tip: Ashley typically tried to spend as much time as possible with her interviewees for her upcoming film, Pioneers In Skirts. According to her, getting to know them on a more personal level frequently makes the interview process smoother. Plus, it’s much more fun.
5. Solve For X
“I try to remove variables. If I only have an hour for an interview, then I’m going to be behind the camera making sure we get everything we need.” It’s about making sure as much can go right as possible, while being flexible enough to survive the mishaps.”
Removing as many variables as possible isn’t easy for the two-woman team running Pioneers In Skirts, but Ashley keeps a positive attitude when she considers the hats they juggle.
6. Forgive Thyself
Ashley explains this one with a story.
“We interviewed the CEO of the National Women’s History Museum, Joan Wages, in DC. We only had half an hour, so [Lea-Ann] was in charge of camera, and I was in charge of sound.”
Tight schedules and parking issues meant the filmmakers had to rush to make the interview happen.
“Seconds before we started shooting, I was literally jumping out of a car and running a down a busy street to get there. It was down and dirty. We jumped out, mic’d us both up, focused the camera, and talked for a half hour straight.”
When they went back to look at it, the video was a little out of focus. Lea-Ann blamed herself, but Ashley was incredibly proud of her producer. “We managed to get a great interview in a great location. It was a little out of focus, but it’s totally okay because we did what we could with what we had. It is one of my favorite interviews.”
“You could beat yourself up with ‘if only,’ but you know you did everything you could with your resources to get the best interview possible. That’s filmmaking — especially for documentary: see how the day goes, see what we can get.”
7. Know It’s Never Normal
As a graduate from one of the top film schools in the country, Ashley’s USC pedigree was a big boon to her in many ways. But – she learned quickly that her expectations out of the classroom needed readjusting.
“When I first started out, I kept thinking ‘this is not the usual process’ or ‘this isn’t normal, normally they would be…’ which can hold you back.”
Her advice is to embrace the chaos. For her, it led to auspicious moments in a documentary interview with an all-girl robotics team.
Ultimately, she says, that’s why she enjoys making films. “That’s what you love about it: it’s something you wouldn’t get to see otherwise. You step out of your normal to tell a story.”
