There are a lot of conversations surrounding the Vimeo Staff Pick, but no one in the indie film community can question its importance. For many creatives that elusive badge has been the starting point for their career, the moment when they get noticed.
For many filmmakers, branded content is a tough code to crack. With variables including — but not limited to — product, budget, timelines, and internal politics, it may seem like a game not worth jumping into. But, allow Scott Ballew, YETI’s Head of Content, to simplify it for you.
Perhaps the most unique trait Ryan Booth has is his transparency. Sure, as a creative and commercial director, he’s built a burgeoning career on the back of his visionary style — but finding someone so talented and transparent is beyond rare.
It may have started as a film school assignment, but the short film AWAY quickly became a film school in itself for Zach Zombek (a.k.a. Convolv). Over the course of its three-year production, the demands of the film forced Zach to master everything from cinematography to visual effects to scoring. “That’s one reason we kept the team so small,” Zach told us. “It forced me to learn these things instead of having someone else do them for me.”
If there is such thing as a “traditional path” to becoming a film director, Elle Ginter did not take it. After finishing her degree in journalism, Elle literally found herself out to sea. She worked on a whale-watching boat and talked to people about whales. As luck would have it, her job on the boat eventually led her onto major Hollywood sets with people like Adam Sandler and David Spade…
There are a lot of ways you can learn how to make films. You can go to film school. You can study film books/history/theory. You can get a job as a PA on a film set. Or starting at age 15, you can make 300+ rap music videos in the nooks and crannies of London, England. As you’d expect, Charlotte Regan did the latter, which is perhaps why her work stands out as being beautifully offbeat, charmingly nonconventional, and — best of all — funny.
Filmmaking, for many, is a treadmill. You spend so much time clawing your way into a position to make films for a living that you find yourself in a place where you’re not making the films you want to be making. Or at least the films you’re personally invested in making. There are deadlines. There are clients. And, of course, there are bills to pay. Sometimes years can go by without stepping off of the treadmill and our big ideas for passion projects do nothing but collect dust. It happens to the best of us. But, here’s the good news: by working to put yourself in this position, you’ve (maybe unknowingly) given yourself the tools you need to pull off a film you only would’ve dreamed of making in your early days.
If our conversation with Dan Sadgrove seems to rove a bit, bear with us. It’s what he does. “I don’t have a mortgage or assets. I have a suitcase of clothes and that’s about it,” he told us. The director films projects during his travels across the globe, so when our conversation went to Vietnam, South Africa, or West Texas, we let it go there. And while it may seem like he lives a romantic life on the road, Dan didn’t hesitate in admitting that it’s a hard life as well. In fact, he was reluctant to encourage anyone to take it on.