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Question: Are you the type of person who carefully checks the temperature of a swimming pool before slowly, over the course of an hour or so, working your way into the water? Or are you someone who dives into the deep end headfirst like a lunatic? If you’re the second type, then you might have a bright future in film.

We’ve been fans of Diego Contreras since before his breakthrough film Islands nabbed a Vimeo Staff Pick in 2013. Since then, his career has been on the rise, taking him briefly through one of the most well-respected ad agencies in history (BBDO), and more recently into the realm of professional filmmaking. Not long ago, he directed two stunning short films for The Lincoln Motor Company, Bloom and Open Your Eyes. And he’s done it all within two years.

We’ve talked about healthy ways of receiving feedback. Now let’s talk about healthy ways of giving it. In almost every way, giving good feedback is harder than accepting it. It is a discipline. And it takes a long time to master. Any novice can teach himself to listen to wisdom. It’s a thousand times harder to speak it.

If you don’t know Joey L. from his work for the National Geographic Channel, the History Channel, or charity: water (his images have been displayed in little places like, oh, Time’s Square), then you might know him from his tutorials. Since 2006, Joey L. has been distilling his hard-earned photographic know-how into easy-to-follow instructional videos (originally in the form of hand-labeled DVDs, and now available on the World Wide Interweb). His most recent series, Dudes with Cameras, is a compulsively watchable mix of photographic wisdom, travelogue, and late-night sleep-deprived mischief. Highly recommended.

Years ago, someone gave me a piece of business advice I haven’t forgotten: “Find a competitor,” he said, “and learn to hate them.” In a lot of ways, his advice was sound. Competition not only drives people forward, but it drives entire industries forward. Heck, it’s the whole basis of capitalism. And yet, after following his advice for a number of years, I couldn’t help but feel like there was something seriously wrong with it. Sure, competition could drive me to the next level, but did I like who I was when I got there? (Nope.) And would I be able to keep that same competitive spirit year after year? (Probably not.)

Why do we make films? It would be so much easier not to. The poet Charles Simic said: “I write because I want every woman in the world to fall in love with me.” Whether or not we say it out loud (or even admit it to ourselves), recognition is always on our radar. As it should be.

Creativity is such a fragile thing. Maybe that’s why entire mythologies have been built around it — everything from the Muses to the idea of “genius,” all attempting to explain where creativity comes from and where to find it when it’s gone missing. And it does go missing. Sometimes it goes missing a lot. The inspiration leaves, the magic is gone. You question everything you’ve ever done. Nowadays, we call this a “creative block,” and it can be terrifying.

If you want to get filmmakers worked up in a hurry, talk about film school. Opinions are as varied as they are impassioned. As they should be. Film school requires a lot from a person. It takes a lot of money, a lot of time, and, ultimately, a lot of trust.