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At Musicbed, we’re passionate about CDDP’s cause because we get it. The commercial industry can be an intimidating place. Beyond being underrepresented, there’s a whole set of skills needed to navigate a professional career. There are clients and collaborators. There are pitches and revisions. It’s a whole different beast.

Micro-budget filmmaking is not for the faint of heart. You end up wearing multiple hats, taking on debt, asking friends to work for free, and toiling away on a project — likely for years — without seeing much (or any) monetary return on your investment. Not to mention it’s highly unlikely you’ll attach a star of any kind at this level, so getting press or festival attention for even a great film can be challenging.

Whether it’s documentaries, mockumentaries, feature films, or wildly popular television shows, you can probably find it somewhere on Alex Buono’s résumé. Although he’s primarily known as a cinematographer, he’s also a successful writer, director, producer, and workshop instructor. Oh, and he’s been nominated for an Academy Award.

If you we were to list all the reasons why you should listen to Lenore DeKoven’s advice about becoming a better director, it would take a long, long time. So we’ll just list a few: Lenore has worked as a director and producer in theater, film, and television. She has taught at UCLA, NYU, and Columbia, and has been a member of Columbia University’s Graduate Film division for more than 20 years. And on top of all that, she wrote a book, Changing Direction, that has been recommended by everyone from Ang Lee to our good friend Salomon Ligthelm.

Lately we’ve been asking filmmakers why they make films. The question is usually pretty awkward, since most filmmakers haven’t really thought about it. They make films because they are compelled to make films. But when you ask, and when you press past the long silence that follows, there is often a surprising and beautiful answer waiting for you. For Leonardo Dalessandri — the visionary Italian filmmaker behind Watchtower of Turkey — his reason is simple.

There is so much good advice out there, but almost none of it sticks. For every thousand pieces of advice you get, you might remember one or two. But what does stick is significant. You can learn a lot about someone from the advice they’ve retained. And you can learn a lot from them too. For the past few months, we’ve been asking filmmakers what advice has stuck with them. Their answers were as varied as their work. But we noticed something: When advice does stick with someone, it becomes not just advice they remember, but advice they give. It becomes their advice. In other words, the best good advice becomes part of who you are. Maybe something below will do the same for you.

How far are you willing to go for your films? Are you willing to break the law? Get arrested? Spend 18 hours hiding from helicopters to get a single shot of a dam exploding? For Ben Knight, one of the filmmakers behind the recent (and excellent) documentary DamNation, the answer is yes.

Like any good story, our careers often make sense only in retrospect. In the moment, the way forward is anything but obvious. It’s only when you look back that you can see how one thing led to another: how you were preparing for your next big move all along, without even realizing it. That’s how things worked for director Rob Chiu who’s now directed commercials for brands like McLaren, Lexus, and Toyota — just to name a few.

Matthew Porterfield, a 39-year-old filmmaker from Baltimore, Maryland, has written and directed four feature films, including Hamilton, Putty Hill, I Used to Be Darker, and the soon-to-be-released Sollers Point. His work has been screened at acclaimed festivals such as Sundance, SXSW, and the Berlinale. And in 2010 he was named one of Filmmaker Magazine’s 25 New Faces of Independent Film. It’s an impressive CV for any filmmaker, let alone one who claims, for the most part, to lack ambition.