Ama with Emmy Harrington

(Marc L) #21

Thank you for your response! Was your reel made of all independent work, or did you manage to get cast in more “professional” productions on your own, pre-representation?

(Jaime Lancaster) #22

That was kinda gonna be my follow up! Was that your first crowdfunding campaign? Hoe much of your funding audience ended up being personal connections versus strangers you enticed via social media or other sources?

(Bri Castellini) #23

Think this one got swallowed by all the other questions, so signal boost!

(Hailey Harper) #24

Welcome to the forum! Do you have any advice about building a brand for yourself/your work? How do you keep your content connected so it’s easier to move your audience from one project to the next?

(Hailey Harper) #25

Also, I would love any advice on directing actors! I’m hoping to direct my first project soon and I’m really nervous about saying the wrong thing or it being a complete disaster. I’ve only ever done writing or a bit of acting before.

(Emmy Harrington) #26

I think now is a great time to be making our way in! People are on the look out for female talent and expectations for companies in hiring and diversifying content is at it’s best!

Most importantly don’t wait for permission. That’s one thing I think we often do differently as women, we need a yes to go forward. I’d say go forward and worry about the yes later.

Also make what you do wonderful is the key. Invest your time and energy into your voice as an artist. Make the work too good to ignore.

(Emmy Harrington) #27

I’m not worried about hurting men’s feeling to be honest. Part of the work is NOT doing things the way they have been done before. Sometimes this means new relationships, showing former collaborators how important to it is to hire women!

(Bri Castellini) #28

@emmyharrington I’m gonna be highlighting unanswered questions in yellow to help you sort through so if you see yellow, go off that! As expected people are already in a frenzy to ask you a ton of questions :slight_smile:

(Meg Carroway) #29

Thanks!! I guess it’s mostly like I’ve worked with one very dear friend a lot and I love working with him but also sometimes I feel bad that every time I do something it’s with a male in a pretty big position of power in the production, even if it’s a male I adore working with and have a great relationship with. Have you run into that, ever? Passing over someone you’ve worked with (successfully) before for hiring because you’re prioritizing women crew members?

(Ollie R) #30

Congrats on your feature! How was making that different from your other projects? Development, filming, funding, whatever. I have a friend that keeps saying “dude we should make a full length film!!!” but I’ve been avoiding it because it seems so out of our reach.

(Emmy Harrington) #31

The most important thing is to ask! Its so hard. Ask for locations. This for me meant going door to door to businesses or friends and explaining what I was doing, what I needed and what I could offer in exchange (thanks in credits, shout outs on social media, buying lunch for the crew there and spending a little money etc) Ask for discounts on lighting rentals. Post on social media for props etc. I did a lot of it myself and mostly it required courage and faking that my project was a big fat deal that everyone should want to be a part of!

(Meg Carroway) #32

Can you expand on this?? I would also like to [successfully] fake that my projects are big fat deals!

(Rodrigo Diaz Ricci) #33

Hi, thanks for your presence, I hope I have arrived on time to ask:
How can a new author in the Media deal with the hysterical censorship that social networks are taking assault? Have you personally suffered an act of censorship, or even worse, self-censorship?

(Anna Bateman) #34

Do you mean about marketing on social? Cuz that was gonna be my question- how do you market your work/what’s your marketing strategy both before and after something is released?

(Emmy Harrington) #35

Hey guys! The most important thing is the number of days you shoot because that’s everyone day rate multiplied by X. So if you can pair two half days and two locations do it, If you can cut a scene to lose a day do it. If you can get your actors off book with rehearsals so you can move faster do it.

and SHOT LIST like your life depends on it.

(Meg Carroway) #36

How do you make your shot lists? What’s that process look like?

(Emmy Harrington) #37

Go through your script with your DP and break down how you want to shoot each piece and the coverage you need. This means saying, ok so the camera is here, we shoot wide, medium close etc. Being specific about how the camera moves throughout a shoot day. Camera blocking essentially.

(Bri Castellini) #38

Signal boost master-post of the oldest three questions so you don’t have to scroll all the way up :slight_smile:

(Emmy Harrington) #39

A mix. Lots of student work at first, some self made content ( not studio taped scenes for me personally) and then I updated it as better quality work came in.

(Emmy Harrington) #40

Just unabashedly boating about how great it’s going to be. Also having a single sheet print out on the film so that I had something real to place in their hands where they could see we were legit/not full of it.