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Taylor Morden, documentary filmmaker, talks about his journey to becoming a documentarian and his experience in filming The Last Blockbuster. Taylor describes what inspired The Last Blockbuster and what the 4-year process has entailed from its conception to its marketing and distribution. Listen to his insightful advice on budgeting, marketing, financing and distribution in this branch of filmmaking.Show Links:Pop Motion PicturesPick It Up Documentary The Last BlockbusterHere's To LifeKey Points0:00 - Intro1:00 - His journey to become a filmmaker2:16 - Flash animation 5:00 - Starting out with a DSLR & making music videos9:14 - The idea of his first feature film14:58 - Personal investment in documentaries19:20 - What inspired The Last Blockbuster26:00 - How do you get people involved with the project29:30 - Nostalgia’s role in the success and involvement of films37:54 - Documentary budgets, financing and distribution approach44:00 - Marketing in a documentary 51:00 - Scripting in documentaries54:05 - Talking to subjects before interviews55:00 - Scheduling interviews with subjects 55:47 - Ending documentaries vs. following in real time 57:00 - Streaming On-Demand The Last Blockbuster Follow us on social media:Facebook InstagramLinkedInTwitter YouTube

José Miguel Vásquez is an Atlanta-based actor featured in The Walking Dead, Cobra Kai, and Netflix’s new mini-series released on Veteran’s Day, "The Liberator." He shares insight into his background and life as an actor, the status of the industry in Atlanta, and diversity in film.José dives into his experience in shooting "The Liberator," using new Trioscope technology for a groundbreaking animation experience. He also talks about how he started a YouTube channel with his family and the challenges that come with growing an audience. Listen to him as he shares encouraging advice for actors and entrepreneurs.Key Points0:17 — Intro 1:04 — His background4:11 — Moving to Atlanta6:30 —  Status of Film Industry in Atlanta8:16 — Experience with filming "The Liberator"9:12 — Trioscope Technology13:14 — Casting on the Thunderbirds & filming in Poland17:50 — Teaching & Coaching 19:19 — Jose’s YouTube channel20:50 — Future of his acting22:12 — Difficulties of creating a YouTube channel23:11 — Challenges of growing an audience26:13 — Role of faith in their channel27:00 — Work-life balance30:11 — The impact of COVID 31:39 — Encouraging advice33:43 —Plan B job for actors36:06 — Dealing with morals as an actor37:36 — The reason behind still being an actorShow Notes YouTube Channel MaJeliv Variety News: The LiberatorGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & MediaFollow us on social media:Facebook InstagramLinkedInTwitter YouTube

Maegan Philmore, Television Line Producer for NFL and Production Coordinator and Manager for TV series such as Dance Moms and Naked and Afraid, joins in conversation with Tanya to tell us more about her experiences working on reality TV.Maegan talks about what it is like to shift from scripted to non-scripted content and its challenges. She also tells us fascinating stories about her experience at the Super Bowl and all the moving parts to live production. Maegan also shares an insight on how she has handled sanitary outbreaks in the past and how COVID has changed this particular side of the entertainment industry. Listen to Maegan's great advice on what to do if you want to get started in this industry.Show NotesListen to Jill Macy's InterviewStaff Me UpWorkCareWorld Health Organization TrainingKey Points01:17 — Maegan’s background03:05 — Shift from scripted to non-scripted content05:33 —  Difference between production coordinator & production manager08:06 — Reality TV & the Union11:30 — How to decide between scripted and unscripted TV15:21 — Working as a producer on the Super Bowl17:40 — Malaria, Guyana & Naked & Afraid21:20 — Working in production & handling tropical diseases22:57 — Her experience with COVID 26:06 — effects of COVID in her industry29:06 — Advice to people looking for work30:02 — Roles that have increased their demand31:14 — Future roles for Maegan32:30 — Work-life balanceGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & Mediamedia.colabinc.orgFollow us on:FacebookInstagramLinkedInTwitterYouTube

Are you ever curious on what filmmakers and producers do to film at certain locations? On this episode, Tanya talks to Kyle Hinshaw, Atlanta based locations manager for film and TV like Baby Driver, Walking Dead and Bad Boys for Life. Kyle walks us through the process of scouting and getting a location ready for a production crew. He also shares what the past few months have been like for him and how COVID has changed the way of production and technology. Kyle shares details on what it’s like to work for different films and TV productions, dealing with state and federal governments, and getting clearance to film in different locations. Listen to his advice on what sets good professional location managers apart from the rest, and what you should do if you want to work in the film industry.   Show Links:David Geroge PodcastJill Maxcy Interview https://locationmanagers.org Key points:1:29 — Introduction2:10 —  Kyle’s backgrounds7:27 —  What is a location manager10:15—  How demand for location managers has grown11:20 — Amateur vs Professional Location Managers13:32 — Winning the Outstanding  Location in a contemporary film for Baby Driver 15:23 — Getting clearance for locations17:41 — His impressions on movies as location manager19:50 —  Working TV vs Films22:20 — Covid impact for his industry 26:50 — Most drastic changes he’s seen after covid27:30 — Thoughts on current changes in technology30:05 — Scouting multiple regions/countries32:42 — Difference between production designer locations & pre-existing ones. 36:00 — Making a location viable for production37:05 — Budgeting for location as an indie filmmaker39:18 — Getting state and government agreements/permits40:49 — Making production aware of locations42:54 — Commonly overlooked items in location management43:19 — Future production roles 46:30 — Advice for filmmakersGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & Mediamedia.colabinc.orgFollow us on:FacebookInstagramLinkedInTwitterYouTube

Lucas Tanaka, Producer and Editor for NBC Universal Skycastle, shares with Tanya the nuts and bolts of working in the commercial world including the storytelling process, working with different clients, and the future of the industry after COVID. Lucas emphasizes on the importance of project management skills and networking when freelancing. Listen to him share with Tanya about his journey, his current career and his future projects in film and media.  Key Points: 00:51 — Lucas’ background5:00 — Freelancing vs a full-time job8:00 — Telling stories through commercials10:30 — How COVID impacted his current job13:40 — Finding joy in the process 14:47 — What his day-to-day looks like15:06 — Getting creative Working From Home16:28 — COVID Compliance on set17:41 — Producing & editing projects18:43 —Working with Da Vinci Resolve22:00 — Working with different softwares & cameras25:15 — The future for NBC Universal Skycastle 26:18 — How to position yourself27:45 — Shifting of roles 29:17 — Working with different clients 30:44 — Balance between accommodating clients and remaining firm on what’s agreed32:40 — Crafting contracts 34:20 — Uniqueness of NBC Universal Skycastle36:30 — How to choose your crew38:30 — What he does outside of his jobShow Links:David Geroge EpisodeTom Wentworth EpisodeDa Vinci ResolveGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & Mediamedia.colabinc.orgFollow us on:FacebookInstagramLinkedInTwitterYouTube

Jill Maxcy, First AD and Health Safety Supervisor with COVID 19 compliant services, talks with Tanya about what the new normal looks like for the film industry. As crew members and actors go back to work, Jill shares insight on safety plans, budgeting, and advice on how to position yourself during these times. Jill went from being an AD into a Health Safety Supervisor and running her own small business in just a short period. Listen to her full story on what she did to pivot her career during COVID and the role Health Safety Supervisors have in the future of film.  Get the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & Mediamedia.colabinc.orgShow Links:10 ways to keep your crew safe on setSanisetCOVID 19 Complence Set John Hopkins TracingWomen in Film Safe Way Forward Key Points:1:05 Jill’s background 4:00 Becoming a COVID Compliance Officer5:04 Getting the first job as a HSS8:00 Authority of HSS on set9:07 Working Union vs non-union sets10:27 Plan for shooting12:20 How much time protocols are adding to production days13:05 Violation protocols to look out for as crew15:34 Film school protocols17:24 Protocols with actors & extras18:35 How to position yourself 19:38 Budgeting HSS for indie films21:03 Pivoting from AD to HSS22:53 Partnership with SANISET26:34 How to get training on COVID 29:32 Personal concerns with COVIDFollow us on:FacebookInstagramLinkedInTwitterYouTube

Tami Cooper, President of Hollywood International Placements, Inc. shares with Tanya the role that product placement agencies play in film production, including working on preparing sets, getting brand deals and product clearance. She also shares advice on how filmmakers can work with brands in their films, how to approach product placement agencies and where to find props and other staging materials. Listen to Tami share the intricacies that come from working with brands on set, getting their clearance and working with production to provide adequate representation.  Key Points:1:11 How she got started2:34 What Product Placement International does4:25 Conflict between paid and unpaid advertising5:00 Working with different departments & getting clearance6:54 Working with films vs. network television8:00 How much it costs to have product placement services9:50 What product placement means11:21 Steps for filmmakers to get product integration in their films13:00 Using product placement deals to finance films15:00 The importance of product clearance in sets17:00 What to look for in Product Placement Companies17:38 The ideal deals between films and product placement companies19:41 The future of product placement 21:36 Product use vs. product placement23:18 Ideal timing to submit your deck to product placement companies25:00 Setting up sets outside of LA25:49 Opportunities for indie filmmakers26:47 How to find product placement companies27:10 Getting in touch with Tami CooperShow links:Hollywoodprops.comsetdecorators.orgGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

Have you ever made a film but struggled with taking it to the next level? Ross Putman, producer, sales and finance agent for Verve, shares valuable insight on the world of sales and distribution agencies. He offers excellent advice for filmmakers on how to sell films and what to look for in distribution companies, emphasizing the importance of networking and constantly making material. Listen to Ross share with Tanya his expertise and advice for filmmakers to take their films to the next level.  Key points:  1:06 —  Journey to becoming a sales agent3:32 — What the sales agent job entails6:00 — Difference between producer & sales agent8:00 — Agent deals 9:42 — Global vs. Domestic Deals11:36 — International Distribution 13:00 — Getting in touch with a sales agency for the first time18:35 — The importance of networking20:51 — How to decide how much to spend in a film24:00 — The importance of collaboration in feature films25:20 — Debunking the term “Story is King”27:00 — Focusing on the strengths of your film29:13 — Challenges of foreign/ international films 31:04 — Leverage during negotiations36:00 — Sales discussions40:30 — What sales agents look for in films43:35 — How distribution deals work46:40 — How filmmakers profit from distribution deals48:17 — Derivative productions 49:00— How to get an agency to read your script53:36 — Advice on budgetsGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & MediaFollow us on:FacebookInstagramLinkedInTwitterYouTube

Greg Nicotero, SFX make up artist & Producer/Director of The Walking Dead, shares nuts and bolts of the SFX department, including tips on how to get started, working with CGI & SFX on The Walking Dead, the difference between working as a make up artist, producing director and the importance of collaboration in different film departments. From a young age, Greg Nicotero, had always been passionate about horror films. Unable to translate his hobby into a career, he pursued a pre-med college degree, until he was offered his first job at Day of the Dead.  Little did he know, this was just the beginning of a brilliant career in the film industry. Listen to Greg share with Tanya fascinating stories of working with renowned directors & his experiences on the Walking DeadKey points 1:25 Greg’s background/journey4:25 How he turned his passion into a career4:54- His work in The Walking Dead6:40 - Working with other departments as makeup effects people7:46 - Experience with different directors9:28 - Impact of Pre-Med background in Film 13:15 - How to get started in SFX 16:20 -  Skills denoting talented makeup artists19:00 - Challenges in film & COVID adjustments 19:40 - Developing next season of The Walking Dead22:35 - COVID Protocols in TWD24:00 - Technological threats to SFX jobs26:11 - CGI vs. SFX decision process & collaboration27:00 - TWD SFX & CGI31:25 - Keeping the spirit of collaboration on set31:57- Working on Sin City33:00 - Experience in directing & how it helps him as a make up artist33:59 – Working with actors on TWD36:10 - Balancing work-life & career37:59 - Working at Creepshow Show notes:IMDB profileKNB EFX GroupGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & MediaFollow us on:FacebookInstagramLinkedInTwitterYouTube

It can be hard to set work-life boundaries when you know someone else could easily replace you.This week Zack Arnold, award-winning editor (Cobra Kai, Empire, Glee) talks of the article he wrote Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working, and shares how he learned to set boundaries to create a healthy work-life balance in the industry.Listen to Zack tell Tanya how reduced set hours saves production money, when to say no, and how his company, Optimize Yourself teaches how to overcome burnout.Show notes:Optimize YourselfOptimize Yourself PodcastSetting Boundaries in the Industry – Kory PollardDear Hollywood: It’s Time For An Intervention About The Hours We WorkParkinson’s LawZack's Guides  Key points:1:17- How he got started as an editor7:04- Experience during COVID9:33- About Optimize Yourself12:33- How to monetize his passion16:46- How have people responded to your article Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working20:47- Changes to help reduce hours22:56- Clock-in/clock-out old way of thinking25:16- Parkinson’s Law27:57- How to overcome someone taking advantage of your time29:40- When to say no31:49- Indicator of being taken advantage of35:35- The word Lucky41:10- How much creative control he has as an editor45:05- Having to use bad takes48:37- The questions you ask determine the quality of your lifeGet the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & MediaFollow us on:FacebookInstagramLinkedInTwitterYouTube

There to Here: Film & Media Podcast is an educational podcast where pros talk nuts and bolts, and how they got started.Tanya Musgrave talks with industry experts and influencers as they share their journey in getting from there to here.Get the latest the There To Here: Film & Media Podcast sent to youFind more podcasts from CoLab INC Film & MediaFollow us on:FacebookInstagramLinkedInTwitterYouTube

COVID has halted nearly all productions but there are a few that have been able to shoot.Matt Hadley, gaffer, recently completed work on one of the fifteen SAG-AFTRA approved projects. He talks with Tanya about working on set in Texas during COVID and how the procedures in place have changed the way he works on set. Listen to Matt share his stories of working on set during COVID. Show Notes:COVID protocolsCinematographers Guild Issues Safe Return To Work ProtocolsNormal Wasn’t WorkingS*!%&yRigsLine Producer- Jason Roberts Key points:1:22 How he got started4:08 Working on Features in New York4:40 Difference between narrative & commercial lighting10:23 Working with directors12:26 Odd ways of lighting on set13:53 Lighting style15:26 How he got on Red Stone’s crew16:18 Working on set during COVID23:50 COVID protocols that didn’t work26:18 Surprising effects of regulations29:20 Changes on the horizonGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

How do you get your project onto Netflix?With a background in VFX and a Harvard Master’s in Finance & Strategy, Netflix producer Jorge Garcia Castro shares ways filmmakers can get their projects sold.Listen to the latest episode of There to Here: Film & Media with Tanya Musgrave.Key Points:1:14 From Harvard To Hollywood4:30 Companies he’s founded6:52 Starting at Netflix8:18 Working as a minority in Hollywood15:42 International Markets21:05 Buyout options23:16 Selling an indy film24:43 How much do you give up25:08 What to look out for in a sale26:40 New Media 28:12 How to get content onto Netflix36:42 Getting picked up by VOD28:30 Marking your film39:38 Virtual ProductionGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

Aiming to be a consistent and dependable writer will serve you just as well if not better than aiming to write for big studios. Ryan Dixon, writer, producer and the founder of Tartan Valley Ventures, a Los Angeles-based creative development consulting firm, compares and contrasts writing for studio projects/big names and the independent feature. He has written projects for Disney, Amazon, Universal, and for stars including Dwayne Johnson, Arnold Schwarzenegger, and Josh Gad.He also gives some fantastic tangible first-steps for aspiring writers just starting out. Key Points:1:54 - How he got started5:38 - Writing for studios7:30 - Writing creatively vs. writing what the market will sell7:52 - The writers that get the jobs9:06 - What to expect when writing for a studio11:47 - The sweet spot between writing for studio films and exercising creativity (development consulting)14:07 - How the Writers Guild works with independent writers14:54 - Getting a writing job (TV vs Features, Agents, etc)17:06 - Craft writing vs. Inspiration writing22:00 - Creativity vs. business26:07 - Covid/Streaming changes on the horizon and what to write for it30:21 - The role of social media in being a writer and getting hired31:41 - Listener QuestionsOpinions on Packaging DealsBest way to get your script on a major producing platformFinding the correct agent/managerTimeline to expect when breaking in as a writer40:05 - Best compliment: "It's a movie" - and the elements that need to be in there43:19 - What are different companies looking for in a script?45:15 - The questions I wish I would've known to askGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

Working as a background actor is a great learning experience as it can help you meet the crew members, observe other roles, and get on set experience, while earning a little extra money. Jennifer Bender, Executive Vice President of Central Casting, talks with Tanya about her role at Central Casting and how it can help springboard your career into the industry.Listen to Jennifer share tips on how you can become a background extra and use it to launch your career in film.Key points:2:03 - How Jen got started4: 57 - Being a woman in Hollywood10:01 - Central Casting returning to work14:16 - Changes in the industry 16:46 - Set etiquette for background actors17:38 -  How does working as a background actor impact your ability to work in other departments19:34 -  Career longevity of a background extra 20:05 - What SAG covers21:39 - Working with different studios22:23 - Always looking for people22:49 - How often do background extras get a speaking role 23:40 - Is being an extra worth the money 24:25 - What should you bring to the casting25:10 - What color & car type should you have 26:05 - Advice for breaking in the industry Get the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

What if your passion isn’t producing or directing? After film school, Cory worked in different departments on set, looking past the “typical” industry jobs that a lot of recent post-grads go for.Cory Maracle shares how he found his passion in the art department.  He is now the prop master for Hallmark's talk show Home & Family. Listen to Cory’s there to here story with Tanya Musgrave.Key points::58- Shares how he got started4:15- What's his role on Home & Family11:43- How COVID impacted the show14:00- New guidelines for getting back to production16:23- Favorite place to find props20:13- The process for making props24:40- Changing set decor27:00- Best way to position yourselfGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

If you work in production, should you have an agent or manager?Matt Birch, Senior VP/Co-Head of Physical Production, APA Agency, shares the difference between agents and managers.Listen to Matt and Tanya talk about the value agencies bring, as well as answer listener questions concerning the future of film productionWatch the episode Show links:The other 50% podcastEntertainment CareersGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

Imagine having never gone to film school and getting a job proofreading scripts in a second language.Raul Martin Romero takes us into the nuts and bolts of his job, writing for television, and how he worked his way into a writer’s room.Listen to Raul Martin Romero share with Tanya how he got from There to Here.Watch the full interview Get the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

$100M films or $50K films, Ralph does them both.Over the last 30+ years, Ralph Winter has produced Star Trek, the X-Men franchise, and Fantastic Four while also delving into micro-budget faith-based films such as Captive and Thr3e.He chats with Tanya Musgrave about his experience on big-budget films about the elements that have to be present for the success of small-budget films, and why big doesn’t always mean success.Watch the full episodeGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

Most below-the-line crew spends more time looking for their gigs instead of working on set; that's where an agent helps you find consistent work. When you have an agent, you can focus on your craft, not landing your next gig. Mike Wagner chats with Tanya Musgrave and shares how he connects below the line crew to film & TV productions. Listen to learn why you should consider having an agent, and what to look for.Watch the full episodeGet the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube