IGNITE Conversation with Gale Anne Hurd
Carson Center for Emerging Media Arts
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05/01/2025
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Gale Anne Hurd is the founder of Valhalla Entertainment, most recently known for the global cultural phenomenon, Emmy Award-winning and record shattering TV series The Walking Dead and it's multiple spin offs including Fear The Walking Dead, The Walking Dead, Dead City, The Walking Dead, Daryl Dixon and The Ones Who Live.
Gale's extensive producing credits include a range of Academy award-winning films with Aliens notably earning 7 nominations and two wins. Her additional Academy Award-winning works include The Abyss, The Ghost and the Darkness, Armageddon and Terminator 2 Judgement Day, which was recently added to the National Film Registry by the US Library of Congress.
Some of her additional studio credits include Tremors, The Relic, Aeon Flux, Ang Lee's The Incredible Hulk, Alien Nation, and Sundance Award winner The Water Dance, among many others.
Additional Valhalla TV credits include Amazon Prime Videos, Law sci-fi limited series Hunters, and two seasons of Falling Water on the USA Network.
On the film side, Valhalla produced the feature film Hellfest for Lionsgate, which is currently streaming on Netflix, and Mankiller, which chronicles the life of the late Wilma Mankiller, the first woman elected Principal Chief of the Cherokee Nation. Man Killer was produced in partnership with with Nebraska's own Vision Maker Media.
Most recently, Valhalla produced Tribeca Film Festival's spotlight documentary The YouTube Effect, which shines light on the spread of misinformation and the algorithms that manipulate public perception.
Gale's honours include the 2022 Lucano Film Festival's Best independent Producer award, the Cartier Award from the Deauville American Film Festival Women in Films Crystal Award, the Producer Guild's David O Selznick Best Feature Film Producer Award, the Visual Effects Society's Lifetime Achievement Award and most recently award the 2020 and most recently the 2024 Lifetime Achievement Award from the Online Film Critics Association.
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- [00:00:00.000]Good afternoon everyone and welcome to the Johnny Carson Centre for Emerging Media Arts.
- [00:00:09.440]My name is Megan Elliott and I am the Johnny Carson Endowed Director for Emerging Media Arts.
- [00:00:14.920]Today we're thrilled to introduce you to a genuine innovator and cultural icon, Gale Anne Hurd.
- [00:00:22.840]Gale has championed emerging talent since she herself was an emerging producer.
- [00:00:29.280]Gale Anne Hurd is the founder of Valhalla Entertainment, most recently known for the global cultural phenomenon, Emmy award-winning and record-shattering TV series The Walking Dead.
- [00:00:44.200]Gale's extensive producing credits include a range of Academy Award-winning films with Aliens, notably earning seven nominations and two wins.
- [00:00:55.660]Her additional Academy Award-winning works include...
- [00:00:59.160]Gale produced and co-wrote The Terminator.
- [00:01:18.100]Some of her additional studio credits include...
- [00:01:22.100]...the Incredible Hulk...
- [00:01:28.100]...Alien Nation...
- [00:01:30.100]...and Sundance Award winner The Water Dance, among many others.
- [00:01:34.720]Gale's honours include the 2022 Locarno Film Festival's Best Independent Producer Award...
- [00:01:41.100]...the Cartier Award from the Deauville American Film Festival...
- [00:01:45.100]...Women in Film's Crystal Award...
- [00:01:48.100]...the Producer Guild's David O. Selznick Best Feature Film Producer Award...
- [00:01:52.560]...the Visual Effects Society's Lifetime Achievement Award...
- [00:01:56.100]...and most recently, the 2024 Lifetime Achievement Award...
- [00:02:00.220]...from the Online Film Critics Association.
- [00:02:02.280]Plus, there's a star on the Hollywood Boulevard.
- [00:02:05.580]Please join us in welcoming to the Johnny Carson Center for Emerging Media Arts...
- [00:02:11.240]...and the University of Nebraska-Lincoln, Gale Anne Hurd.
- [00:02:14.440]Thank you.
- [00:02:15.480]Thank you so much for taking the time to speak with us today, Ms. Hurd.
- [00:02:22.580]You've had such an astounding career path...
- [00:02:26.220]...and I want to start somewhere that's really, I say, pertinent to most everyone here today, which is college.
- [00:02:32.880]You attended Stanford for Economics and Community Coaches...
- [00:02:37.180]...and you mentioned how your Stanford at Britain experience was pivotal in discovering your passions for film...
- [00:02:43.400]...particularly through the mentorship of Julian Blaustein, who was the producer of The Day the Earth Stood Still.
- [00:02:49.720]At what point during this journey did you begin to see film and television not just as an interest...
- [00:02:55.500]...but as a viable career path for yourself?
- [00:02:57.500]Well, first of all, I started college having no clue what I wanted to do in the future.
- [00:03:02.500]So those of you who...you guys are already further along the path than I was.
- [00:03:07.500]I kept changing majors, so I did not add film and television until after I went to the program in the UK.
- [00:03:14.500]So I started in psychology, which was very helpful dealing with some of the folks in Hollywood.
- [00:03:19.500]And then I decided economics.
- [00:03:25.420]Maybe I could have a career if I studied economics.
- [00:03:29.420]Not understanding what career you could have with an economics degree, but I wasn't worried about that at the time.
- [00:03:35.420]And then Stanford really encourages, as it seems University of Nebraska does, study abroad.
- [00:03:45.420]I'm monolingual. I'm okay in Spanish. I have Mexican immigrant ancestors.
- [00:03:55.340]So I went to the UK. It was an intense program in British economics,
- [00:04:03.180]world economics, as well as British film and broadcasting. And I fell in love with that program.
- [00:04:10.540]And I mean, the idea that you'd get credit for watching two films and two documentaries a day,
- [00:04:17.420]and then meet the people who made them, changed my life. And luckily, Julian Blaustein was
- [00:04:25.260]the gentleman who put the program together. And when I went back to Stanford and declared a second
- [00:04:32.220]major, he became my advisor. So when I graduated, he basically helped me, as did another professor,
- [00:04:42.140]Stephen Kovacs, who was a refugee from the then Czechoslovakia, who left after the revolution,
- [00:04:49.740]and went to work for Roger Corman. And Roger Corman was looking for an assistant,
- [00:04:55.180]and in the only time where literally having the top GPA in the program meant anything,
- [00:05:04.400]Roger wanted the top graduate in communications, which is where film and TV was. That was me,
- [00:05:12.280]and he arranged an interview with Roger Corman, and that's why I'm sitting here,
- [00:05:18.360]because of that interview, and because of Julian Blaustein, Stephen Kovacs, and Roger Corman.
- [00:05:23.880]Speaking of Roger Corman,
- [00:05:25.100]you went from being his assistant to being the head of marketing to being a PA again,
- [00:05:32.100]and in a previous interview, you stated that going back to being a PA was one of the best
- [00:05:36.660]decisions you have ever made. What skill or insight from that experience do you think has
- [00:05:41.000]proven most valuable in your career? So, just for some context, when I went in for the interview
- [00:05:47.220]for Roger Corman, I thought it was his secretary, and I'd be his secretary for life, which sounded
- [00:05:51.540]like an ambitious goal, and in that first interview, I thought it was his secretary,
- [00:05:55.020]and in that interview, he asked, he said, what do you want to do as a career? Literally
- [00:05:59.200]hadn't crossed my mind, but I realized that saying being your assistant was not the right
- [00:06:03.640]answer. I thought, I have a degree in economics and communications, Roger's a producer, so
- [00:06:08.520]I said, producer. And he said, great. If you survive, sort of like if you've watched Survivor,
- [00:06:14.880]Survivor, you'll be a producer. And I thought, ha, this is Hollywood, no one ever tells you
- [00:06:21.240]the truth.
- [00:06:24.940]And that was the truth. And then one day he came in and said, the marketing department,
- [00:06:32.340]and Carmen was releasing about six movies a month through New World Pictures. Some were
- [00:06:37.940]the exploitation films you think of for Roger Carmen, but he also had an incredibly robust
- [00:06:43.380]foreign language film distribution, which included Kurosawa films and Ingmar Bergman
- [00:06:49.260]films and Francois Truffaut films and Volker Schlondorf.
- [00:06:54.860]So I was literally using every part of my brain power trying to market to both, which
- [00:07:01.620]are very different audiences. So there had been two brothers who'd been running the department.
- [00:07:08.180]They had to leave, and I became the department, knowing literally nothing about it, but you
- [00:07:14.020]either sink or swim. And I learned how to swim with another important skill set, which
- [00:07:19.500]is the kindness and help and support of others.
- [00:07:24.780]So, the other people who worked in the trailer department, the other people who worked in
- [00:07:30.780]distribution and sales all helped me, which was essential, because otherwise I would have
- [00:07:37.260]failed. And then I thought, okay, great, I've done this. Roger found someone who was actually
- [00:07:43.160]a professional to run the marketing department, and I said, I really want to work on set.
- [00:07:50.600]I assumed I'd start as a producer. I mean, that's what Hollywood is.
- [00:07:54.700]Hollywood trains you to think. And Roger said, okay, I'm doing a movie called
- [00:07:59.700]Humanoids from the Deep. You're going to be a production assistant.
- [00:08:02.140]I was flabbergasted. But Roger said, you know nothing about running a set.
- [00:08:08.460]You know nothing about making a movie. You've been in the office this entire time.
- [00:08:12.500]You need to learn from the ground up. That hadn't occurred to me.
- [00:08:16.640]And so I started, and I literally did everything. I made coffee. I cleaned chemical
- [00:08:24.620]toilets and motorhomes. I was luckily not dyslexic, but the second assistant director was,
- [00:08:32.660]so they couldn't prepare the call sheet because they wouldn't know when they'd written a call
- [00:08:37.020]time or a scene number wrong. So I started doing that, and I literally learned every job on set,
- [00:08:44.360]and it was by far the most valuable. Now, it wasn't my choice to be a production assistant.
- [00:08:49.380]It was Roger's requirement and best training I ever got.
- [00:08:54.540]You shared in another interview that you primarily learned how to keep films on time
- [00:08:58.780]and in budget from Roger, and then wanted to add your own interest in focusing on developing strong
- [00:09:03.620]characters. So what goes into building a strong character, and are your characters ever inspired
- [00:09:08.560]by people close to you? Well, I always believe it's best to start any story with the characters
- [00:09:16.780]who are in it, because it's essentially their journey that the audience is following and buying
- [00:09:24.460]So, and I, generally, whether it's a documentary or a feature film or a TV series,
- [00:09:31.400]generally they're about ordinary people thrust into extraordinary times or experiences,
- [00:09:36.980]who either manage to survive, or save the world, or fill in the blank. And from there,
- [00:09:46.020]you, they're often genre stories. So in, you know, so we, we then,
- [00:09:54.380]create the world, and populate it, and, and essentially go from there. Now,
- [00:10:02.780]people around me, of course, I think you don't consciously necessarily draw from people you know,
- [00:10:09.680]but they certainly inspire certain characters, and they certainly inspire a lot of dialogue.
- [00:10:15.420]So, so I'm, I'm constantly looking out for dialogue, and, and I,
- [00:10:24.300]and I have to say, you know, that's some of the most memorable lines in, in anything I've done.
- [00:10:32.280]Actually, I heard someone say at one point or another, including get away from her, you bitch,
- [00:10:37.020]but although that was what Jim heard. Wonderful, thank you for sharing. The film industry has
- [00:10:44.160]changed dramatically since her early, early days with Corman. If you were graduating from Stanford
- [00:10:49.140]today, what path would you take to break into the industry, and how would that differ from
- [00:10:54.220]the path you took? Well, I would not have attended Stanford. I wouldn't have gotten in, but I think
- [00:11:07.480]the path would have been different, because the world is constantly changing, it's constantly
- [00:11:17.680]evolving, and from what I can tell, this program here is preparing you far better than the program at
- [00:11:24.140]Stanford did. You are learning skills that are useful and marketable now. We did not. It was
- [00:11:31.480]primarily theoretical. I learned a lot about film analysis, and it was actually an essay that I
- [00:11:39.240]wrote about 2001 A Space Odyssey that Roger read and hired me for, but it's unlikely that a paper
- [00:11:46.740]that you've written for a film theory class is going to get you hired, so things are
- [00:11:54.060]very, very different, and I think I would have wanted a lot more hands-on experience so that
- [00:11:59.960]my first real set experience wasn't on humanoids from the deep. Well, I kind of want to follow up
- [00:12:06.760]on that with a question then. Are you happy with the economics background that you got
- [00:12:13.300]when you were at Stanford? Do you feel like that has played kind of a big part? No, it's totally
- [00:12:18.700]useless. I mean, microeconomics and macroeconomics,
- [00:12:23.980]I mean, you know, I constantly remember it's like given full employment in a stable equilibrium,
- [00:12:29.960]well, those are not the market conditions we find ourselves in. So it was, once again,
- [00:12:35.680]like my background in most of film and television at Stanford, unlike what I learned at Stanford
- [00:12:45.520]in Britain with their film and TV program, it was all theoretical and not applicable to the world.
- [00:12:51.440]The good news was,
- [00:12:53.900]it really sounds good when I went in to talk with people in the finance department that I had a
- [00:12:59.080]degree in economics. So I just played that card and got away with a lot. In the meantime,
- [00:13:06.960]I learned the nuts and bolts of, going back to your actual question, of staying on budget
- [00:13:15.320]through Roger Corman and through the tools of, like, Estimates to Complete, Hot Costs,
- [00:13:23.820]Daily, so that you knew both how much money you'd spent, where you were supposed to be
- [00:13:30.660]in terms of the budget at that point in shooting, whether you were on schedule, so whether you
- [00:13:39.340]were consistent with your Estimate to Complete in terms of the number of pages and scenes
- [00:13:45.420]and days you had left. So you were constantly using both your right brain and your left
- [00:13:50.960]brain. So that was the training that I did
- [00:13:53.740]have was both right brain and left brain. You can't ask for a better education
- [00:13:58.120]than with Roger Corman, I'm sure. There is no, and sadly Roger Corman
- [00:14:02.500]died last year, but that was absolutely the best possible education. And he would constantly
- [00:14:13.620]throw you in to the deep end of the swimming pool and you'd damn well better learn to swim
- [00:14:19.380]or you're going to drown. Well, I want to kind of
- [00:14:23.660]pull on the thread of talent development and explore that a little more broadly.
- [00:14:27.400]You've acknowledged, as we've been talking, the critical role of mentors like Roger Corman
- [00:14:33.980]and Barbara Boyle in your success and how they advocated for you at crucial moments,
- [00:14:39.880]such as when Barbara helped you secure financing for the Terminator.
- [00:14:43.140]As someone who has broken barriers in a male-dominated field,
- [00:14:47.460]how do you view your responsibility towards mentoring the next generation of filmmakers?
- [00:14:53.580]Well, I think it's incredibly important.
- [00:14:56.880]At the same time, it needs to evolve naturally.
- [00:15:00.220]A lot of people reach out to me and say, I need you to be my mentor.
- [00:15:03.120]Well, the mentorships that work are the ones that evolve naturally,
- [00:15:09.820]people I'm working with on set, like former assistants of mine now run my company
- [00:15:17.480]and have really prominent positions in the film industry,
- [00:15:23.580]but that's because I got to know them incredibly well,
- [00:15:26.460]saw their strengths, was able to help guide them, to give them feedback,
- [00:15:30.320]hopefully allow them to avoid some pitfalls.
- [00:15:34.380]I have also mentored through the Producers Guild and Women in Film
- [00:15:39.840]and through the Nickel Screenwriting Competition at the Motion Picture Academy.
- [00:15:47.220]So those are the channels that I use for mentorship, but no, it's absolutely essential.
- [00:15:53.420]And, you know, the key thing is it needs to be two ways.
- [00:15:58.140]I learn from my mentees.
- [00:16:00.900]I stay up to speed on what's going on, you know, among people not of my elderly generation,
- [00:16:09.380]but of yours, through them.
- [00:16:11.640]And I think it's equally beneficial.
- [00:16:15.760]I want to follow up with a question more about your kind of identification,
- [00:16:23.340]your sense of talent, and your history of productive collaborations with directors.
- [00:16:27.920]You stated in the past that on the film "Battle Beyond the Stars" you spotted James Cameron's
- [00:16:34.660]talent and you advocated for his promotion, which eventually led to a partnership
- [00:16:39.600]on so many fantastic films.
- [00:16:41.340]What specific qualities do you look for when identifying emerging talent?
- [00:16:46.420]Well, many of you may have already read this, but my first encounter with Jim Cameron was
- [00:16:53.260]when I was working for Roger as his assistant, again, having been on set, and he sent me
- [00:16:58.980]down to the model shop where the spaceship miniatures were being built for Battle Beyond
- [00:17:05.260]the Stars.
- [00:17:06.560]And I walked in and there was this tall, blonde gentleman who walked over and said, "Are you
- [00:17:12.220]Roger's assistant?"
- [00:17:13.220]I said, "Yes."
- [00:17:14.220]He said, "Great, I'll give you a tour of the model shop."
- [00:17:16.100]And he went through each spaceship, which was a completely different design, explained
- [00:17:21.040]why that design
- [00:17:23.180]which he had innovated, both from the sketches to the actual modeling, reflected the species
- [00:17:36.080]of alien that would be found in that craft.
- [00:17:40.960]So it was all, once again, started with character.
- [00:17:44.940]And I immediately went, "Oh, my God.
- [00:17:47.200]He's not just coming up with, 'Oh, doesn't that look cool,' but how is it that it relates
- [00:17:53.100]to this race of aliens, and their aesthetics, and their morality, and all of those things
- [00:18:00.380]that are really far deeper than just scratching the surface?"
- [00:18:05.200]Plus, they were awesome.
- [00:18:07.940]And so I went back to Roger Corman's, and I said, "Oh, my God.
- [00:18:11.440]Jim Cameron, the head of the model shop, just toured me through it."
- [00:18:14.340]And he goes, "He's not the head of the model shop.
- [00:18:17.940]He's a model builder."
- [00:18:18.940]And I said, "Well, you know, he should be, and next thing you know."
- [00:18:23.020]We're, I don't know, four weeks out from filming.
- [00:18:25.980]We have 25 sets on Battle Beyond the Stars.
- [00:18:30.780]At this point, I had been promoted to the assistant production manager, and I realized
- [00:18:35.520]that the art director hadn't designed any of them.
- [00:18:38.960]He came from the studio world, where you have drafts people and set designers.
- [00:18:44.520]So he didn't know how to draw.
- [00:18:46.360]We had nothing to build.
- [00:18:48.040]We weren't going to be able to start shooting.
- [00:18:50.440]All the actors' contracts were done.
- [00:18:52.940]Roger said, "What are we going to do?"
- [00:18:54.220]I said, "Make Jim Cameron, model builder, the art director."
- [00:19:00.460]And Roger Kerman made Jim Cameron the art director.
- [00:19:05.240]And of course said, "You're responsible to make sure that we can start filming.
- [00:19:12.540]These 25 sets get built, and that he stays on schedule and on budget."
- [00:19:19.280]And that was how that partnership started.
- [00:19:21.160]Yes.
- [00:19:22.160]It's amazing.
- [00:19:22.860]It's amazing to hear about how you were able to find such a synergy in your mindsets about
- [00:19:28.320]liking character-driven narratives.
- [00:19:30.020]That's amazing.
- [00:19:31.020]And I ended up because I was responsible.
- [00:19:34.680]So you think your day job ends, we're on schedule, whatever.
- [00:19:40.960]Well, we didn't have enough people, and we couldn't hire enough people to get those sets
- [00:19:44.700]built in the amount of time that we had.
- [00:19:47.080]So I would work sometimes all night along with the set team.
- [00:19:52.780]Painting the sets with a Hudson sprayer, putting set dressing on.
- [00:20:01.840]And so Jim and I would talk all night just to stay awake, because at this point you are
- [00:20:06.680]sleep deprived.
- [00:20:08.060]And that's when we started talking about future stories that we wanted to tell.
- [00:20:12.500]And that's how we ended up realizing that we wanted to collaborate as a producer and
- [00:20:17.120]director.
- [00:20:18.120]Well, that's definitely a way to establish trust when you're spending 36 hours
- [00:20:22.700]awake with someone, for sure.
- [00:20:24.700]Yes.
- [00:20:25.700]Yeah.
- [00:20:26.700]So I'm kind of interested in further exploring how your own experiences have shaped your
- [00:20:33.500]approach to mentorship.
- [00:20:34.980]Throughout your career, you've navigated an industry with significant gender imbalances,
- [00:20:40.840]particularly in leadership roles.
- [00:20:42.540]So I'm curious about how you've maintained your creative conviction and your professional
- [00:20:48.400]confidence when facing resistance or biases.
- [00:20:52.620]Well, the key thing is filmmaking is a team sport.
- [00:20:58.780]Your team is what gives you strength.
- [00:21:02.400]They're the people who are there for you and you're there for them when things get rough.
- [00:21:07.160]And it's not necessarily always the people who are hands-on with you on set.
- [00:21:11.420]They're your team who've supported you from the beginning.
- [00:21:13.580]They're the team that you call when you hit a roadblock.
- [00:21:18.640]And I was lucky with the team that surrounded me.
- [00:21:22.540]So, I could always call on Roger Corman, a name that, how many of you here have heard
- [00:21:29.020]the name of Deborah Hill?
- [00:21:30.880]Hands.
- [00:21:31.880]All right, homework.
- [00:21:35.820]You need to learn about Deborah Hill.
- [00:21:38.040]Deborah Hill was not only my mentor, she was my idol.
- [00:21:42.620]She was the first woman trailblazer in genre of my generation, and she co-wrote and produced
- [00:21:52.460]Halloween.
- [00:21:54.340]She did The Fog.
- [00:21:55.600]She did Escape from New York.
- [00:21:57.840]She did Adventures in Babysitting, The Fisher King, Clue.
- [00:22:02.760]And so along with Barbara Boyle, Deborah Hill, especially because of Deborah's love for the
- [00:22:09.900]horror genre, was constantly there for me.
- [00:22:14.620]She'd already navigated this and trailblazed before me.
- [00:22:22.380]She passed away a number of years ago.
- [00:22:25.380]She did not get the acclaim that she deserved.
- [00:22:29.140]But it's through those supporters.
- [00:22:32.800]And I also had two other, in addition to Roger Carman and Barbara Boyle, unlikely supporters.
- [00:22:38.960]One is when Jim and I were doing The Terminator, an independent film, you need a completion
- [00:22:44.980]guarantor.
- [00:22:45.980]So you have to put up a bond and you have to have a contingency, and there is a company
- [00:22:52.300]called Film Finances, and the gentleman there, I mean, you've heard about stress interviews?
- [00:22:57.500]Well, Jim and I had this stress interview trying to convince him that we could make
- [00:23:02.920]The Terminator on time and on budget.
- [00:23:07.220]And Lindsley Parsons, Jr. put us through the wringer.
- [00:23:11.980]I've never perspired so much in my life.
- [00:23:14.920]It was an ice cold room, but I was terrified because if he said no, game over, man.
- [00:23:20.960]So he said, "No."
- [00:23:22.220]I said, "Yes."
- [00:23:25.060]He was there for both Jim and me, and then later for me throughout my career up until
- [00:23:31.420]he died.
- [00:23:33.980]Who would have thought that the guy who's essentially representing "the bank" that
- [00:23:41.280]is guaranteeing that we will make the film on time and on budget becomes such a supporter.
- [00:23:46.300]So often, you don't know who those people will be, and it's important not to judge them
- [00:23:52.140]and think, "Oh, you know, they're outside my world."
- [00:23:55.920]You never know.
- [00:23:57.840]And so, you know, I will appreciate, respect, and acknowledge him until I die, because he
- [00:24:06.240]was the one who convinced 20th Century Fox when I was up to produce Aliens, and they
- [00:24:14.820]didn't believe I was actually told, "How can a little girl like you," because I'm small,
- [00:24:22.060]"produce a big movie like this?"
- [00:24:26.860]I have to say, I didn't miss a beat.
- [00:24:31.660]I said, "Call my references.
- [00:24:33.160]You can call Roger Carman, but most importantly, call Lindsley Parsons at Film Finances."
- [00:24:39.560]They did, and he basically said, "Look, I'm obviously not bonding this.
- [00:24:43.340]Studio films don't need bonds," but I 100% vouched for her, and that's how I got that
- [00:24:48.980]job.
- [00:24:49.980]That's amazing.
- [00:24:50.980]Thank you for sharing that.
- [00:24:51.980]Speaking of career and teams, over your career, you have transitioned from sci-fi films to
- [00:24:59.860]documentaries such as "Mankiller" and "The YouTube Effect."
- [00:25:03.300]How do you approach these differently, from producing a documentary to producing a narrative
- [00:25:07.660]story?
- [00:25:08.660]Exactly the same.
- [00:25:09.660]100% the same.
- [00:25:10.660]The only thing that's different is budget and time.
- [00:25:15.880]So you start with, "I'm passionate about getting this story together."
- [00:25:21.900]And then you don't take no for an answer.
- [00:25:29.060]Now you do have to take the no when people tell you you're not going to get the budget
- [00:25:33.360]you want, and you've essentially knocked on every door.
- [00:25:36.880]But like with Mankiller, and big thanks to Shirley Sneevy and Vision Maker Media, as
- [00:25:45.760]well as for a previous documentary that Valerie Redhorse-Moll and I produced and she directed,
- [00:25:51.820]Shock Talk: Code Talkers, which was another documentary through Vision Maker Media.
- [00:25:59.340]So we got the initial funding from Vision Maker Media.
- [00:26:03.140]Okay.
- [00:26:04.140]You go, "Oh, this is Gale Unheard.
- [00:26:06.700]This must be easy for her."
- [00:26:08.380]We raised the rest of the budget for Mankiller on Kickstarter.
- [00:26:14.000]And Lindsey, where are you?
- [00:26:16.180]Okay, Lindsey, please, please, okay, back there in the...
- [00:26:21.480]Back there.
- [00:26:21.740]She was responsible for the, if you know anything about Kickstarter, the rewards.
- [00:26:30.820]That is a full-time job, so in addition to being in marketing,
- [00:26:34.960]and she was essentially making sure that we got our pledges, we got our rewards,
- [00:26:40.620]and that everyone who contributed anything to the film is thanked in the credits.
- [00:26:47.700]So you literally, you know, you have to pivot.
- [00:26:51.660]You always have to pivot given the reality of the situation,
- [00:26:55.360]and if you want to get something made.
- [00:26:58.300]Your filmography consistently engages with meaningful themes
- [00:27:01.940]like the sociopolitical undertones and sci-fi works like the Alien franchise
- [00:27:06.080]to your documentary explorations of historical figures.
- [00:27:08.980]Okay, so I only made Aliens.
- [00:27:10.940]I only made the second one, so.
- [00:27:13.320]Good clarification.
- [00:27:14.440]What draws you to these particular subjects and cultural narratives?
- [00:27:19.480]When I was growing up,
- [00:27:21.580]I was a huge reader.
- [00:27:24.980]I was one of those people with a flashlight
- [00:27:27.160]under the covers way past bedtime.
- [00:27:29.860]I read science fiction, fantasy, and horror.
- [00:27:32.160]I was literally, I tried to read a book every couple of days.
- [00:27:37.340]I hung out in the local public library.
- [00:27:40.960]I believe libraries are incredibly important.
- [00:27:44.560]And so that's where my love started.
- [00:27:48.080]Well, the difference was that my parents,
- [00:27:51.500]you know, there was, we didn't have, you know,
- [00:27:55.400]they didn't have childcare.
- [00:27:56.400]So there, the childcare for me was on Saturdays,
- [00:28:00.280]they would drop me off at the local movie theater
- [00:28:02.320]where they had a double bill for children.
- [00:28:05.540]And it was often, it was often science fiction
- [00:28:08.920]and fantasy films.
- [00:28:10.180]It's where I first, my first crush,
- [00:28:13.920]also for those of you who haven't heard the name,
- [00:28:16.960]Harry, Ray Harryhausen, who was an animator
- [00:28:21.420]an early animator, Jason and the Argonauts
- [00:28:24.160]and a number of, you know, Seven Voyages of Sinbad.
- [00:28:26.660]I fell in love with it on the screen.
- [00:28:30.200]And then the next life-changing moment for me
- [00:28:33.240]was when I was in college and Stanley Kubrick's
- [00:28:37.500]"2001: A Space Odyssey" came out and I realized
- [00:28:41.000]you can make these big, bold, visionary films
- [00:28:46.000]about something and you know, and you can
- [00:28:51.340]bring these great stories to life.
- [00:28:53.340]And that's, the timing was perfect for me
- [00:29:00.260]because audiences were shifting and accepting,
- [00:29:06.200]which is, you know, which is why "Aliens" was able
- [00:29:09.700]to get seven Academy Award nominations
- [00:29:11.920]'cause it wasn't just considered these schlocky films
- [00:29:15.480]that could be ignored by the critics.
- [00:29:19.400]- Well, before we open the floor to questions,
- [00:29:21.260]I have a couple of questions from the audience.
- [00:29:23.360]I'd love to spend a moment talking about the future
- [00:29:25.780]of storytelling and also the industry.
- [00:29:29.040]You successfully navigated industry changes for decades
- [00:29:32.140]and with that knowledge, I would love to know
- [00:29:34.740]what emerging technology or trend you think
- [00:29:37.980]will most dramatically reshape the business
- [00:29:40.680]in the next five years and how you're preparing
- [00:29:44.160]to adapt to the changes.
- [00:29:46.500]- I'm looking for all of you to adapt to the changes.
- [00:29:51.180]And I have to say what I've already seen today
- [00:29:54.220]among the work from the students here,
- [00:29:56.720]I am blown away, I am inspired.
- [00:30:00.420]So I take my inspiration from all of you
- [00:30:03.160]and I am delighted to learn from students,
- [00:30:08.160]from young filmmakers how they see embracing the technology.
- [00:30:16.780]To me, yes, we're at a pivot point, we're at a pivot point
- [00:30:21.100]where AI is ubiquitous, but what I don't want
- [00:30:26.100]to lose sight of is humanity, is that I believe
- [00:30:31.800]it should always be in service of humanity,
- [00:30:35.420]bringing us together, not tearing us apart,
- [00:30:40.240]and that if we embrace that and we do set up guardrails,
- [00:30:46.740]because I think we absolutely,
- [00:30:51.020]absolutely need guardrails,
- [00:30:53.100]then it can absolutely be a boon.
- [00:30:56.880]But I try not to do anything that is going to put
- [00:31:01.880]human workers out of a job.
- [00:31:05.720]We are seeing that now in Los Angeles.
- [00:31:09.520]I'm sure you've read about the travails in Los Angeles.
- [00:31:12.460]Not only were jobs already leaving,
- [00:31:16.600]runaway production, but also after the Eaton fire,
- [00:31:20.940]after the fires in Los Angeles,
- [00:31:22.720]many of the people who were already struggling
- [00:31:25.520]to make a living lost their homes.
- [00:31:28.060]So in addition to their livelihood.
- [00:31:29.480]So to me, I care very deeply about everyone.
- [00:31:34.340]Everyone on the crew sheet.
- [00:31:37.460]So I don't make a distinction between,
- [00:31:40.060]oh, above the line, the actors, the producers,
- [00:31:42.440]the director and the writers,
- [00:31:46.060]but everyone is part of the team that makes the movie
- [00:31:49.160]and they are just as valuable
- [00:31:50.860]and I never want to lose sight of that.
- [00:31:53.720]So to me, I keep that as a priority
- [00:31:56.420]and do my best so that everything that I work on,
- [00:32:00.460]people remember as being a positive experience.
- [00:32:04.340]And so, you know, so whatever technology I can use
- [00:32:09.340]to continue with those values, I will embrace.
- [00:32:14.400]- Yeah, it really does take a village to make a film
- [00:32:17.380]and I think everyone in the industry
- [00:32:19.020]would agree with your assessment on that.
- [00:32:20.780]- I wish I could say that.
- [00:32:23.200]- Yes, thank you so much for your insights.
- [00:32:26.840]We're gonna start transitioning and opening up to the Q&A.
- [00:32:30.000]So if you have a question, go ahead and start lining up.
- [00:32:32.820]And while they're doing that,
- [00:32:33.660]I have one last question for you.
- [00:32:35.720]Currently you're involved with The Walking Dead,
- [00:32:37.440]Daryl Dixon, which is receiving very positive reviews.
- [00:32:40.660]Can you share a sneak peek into what stories
- [00:32:42.920]are exciting you right now?
- [00:32:44.800]- Not for that, otherwise every time I share something,
- [00:32:48.460]it's a million dollar fine.
- [00:32:50.700]- Oh.
- [00:32:51.860]- So, as opposed to having to pay a million dollar fine.
- [00:32:56.860]I'll say that the other projects that I'm working on
- [00:33:01.760]speak to misinformation, to disinformation,
- [00:33:07.080]to a lot of the challenges we're facing now
- [00:33:12.080]in a world that I believe is trying to push us apart,
- [00:33:19.180]to set us against
- [00:33:20.620]each other, and I believe as filmmakers,
- [00:33:24.240]it is absolutely essential to make sure
- [00:33:27.640]that we don't contribute to that,
- [00:33:29.840]that we make sure that we're sending a message
- [00:33:34.540]of kindness, of cooperation,
- [00:33:36.560]and that's why I'm so excited
- [00:33:37.880]that tonight we're screening Tremors,
- [00:33:40.000]because at the heart of Tremors is just that message.
- [00:33:44.160]- That's wonderful.
- [00:33:45.000]Thank you so much for having this conversation with us.
- [00:33:47.740]Now we're going to open it up to the floor.
- [00:33:50.540]Please step forward.
- [00:33:51.380]We're going to do one question apiece just to get
- [00:33:53.460]one and remember to state your name hi my name is Peter thank you so much for
- [00:33:59.070]coming I have a walking dead specific question as long as it doesn't cost me a
- [00:34:06.210]million dollars I'll try to know it's it's about the past on the topic of
- [00:34:11.450]navigating industry changes I'm curious when did conversations start on breaking
- [00:34:16.730]it into an expanded universe sort of approach and what about the story sort
- [00:34:21.710]of made you realize that that was the way it needed to be told well it goes
- [00:34:28.970]back to the fact that initially no one expected this to be a huge ratings
- [00:34:35.510]success and I will answer that part later because while the comic book was
- [00:34:42.930]very successful for all of those of you who don't know it is based on a comic
- [00:34:48.970]book 193 issues
- [00:34:51.510]193 issues
- [00:34:51.610]193 issues
- [00:34:51.690]193 issues
- [00:34:54.210]thank you
- [00:34:55.530]but at the time that we set it up at AMC
- [00:35:00.990]the monthly sales were about 35,000
- [00:35:04.430]yes they were passed around so the actual readership was larger
- [00:35:08.290]but it was not enough to sustain the TV series
- [00:35:12.070]so we obviously needed to expand beyond that
- [00:35:14.870]but it's also why expectations were fairly low
- [00:35:18.790]the first season broke records
- [00:35:20.950]it was a success
- [00:35:21.590]but the game changer
- [00:35:26.610]talking about new technologies
- [00:35:29.530]AMC wisely decided
- [00:35:33.070]this new, are they going to make it or are they not
- [00:35:36.290]Netflix
- [00:35:36.830]maybe we should put this on Netflix
- [00:35:40.330]remember this was appointment TV on cable
- [00:35:44.270]and AMC started by doing something
- [00:35:48.210]that was innovative because they didn't have a lot of programming
- [00:35:50.830]on AMC
- [00:35:51.490]at the time
- [00:35:52.230]it was every Sunday night
- [00:35:55.830]9 o'clock at night
- [00:35:58.290]at 8 o'clock on Sundays they'd show the previous week's episode
- [00:36:02.750]so if you missed it you could watch it and catch up
- [00:36:05.170]now with serialized storytelling
- [00:36:07.250]so it's not a procedural
- [00:36:09.730]you really kind of need to have seen the previous episodes
- [00:36:13.650]and it's why there was a lot of drop off for serialized storytelling
- [00:36:17.690]up until streaming
- [00:36:19.710]we benefited
- [00:36:21.390]from streaming
- [00:36:22.110]and the next season went through the roof
- [00:36:24.410]and then it continued
- [00:36:25.590]until as you know we killed Glenn
- [00:36:28.070]long story there
- [00:36:31.870]I won't share
- [00:36:32.530]and then
- [00:36:35.830]there was such a love for it
- [00:36:38.170]that even after the main series
- [00:36:40.810]ended
- [00:36:41.630]we had already spun off a couple of other shows
- [00:36:44.870]and then
- [00:36:47.350]when the main series was over
- [00:36:49.490]we've got these fantastic characters
- [00:36:51.290]including as you know Daryl
- [00:36:53.170]who doesn't exist in the comic books
- [00:36:54.830]these actors wanted to continue
- [00:36:59.490]with the show
- [00:37:00.130]so when the actors
- [00:37:02.110]and the storylines
- [00:37:04.190]and the showrunners
- [00:37:06.250]all come together
- [00:37:07.830]and the network is on board
- [00:37:10.810]that's why it happened
- [00:37:12.710]and it's really exciting
- [00:37:15.750]and everyone's having
- [00:37:17.430]a wonderful time
- [00:37:18.070]and hopefully so is the audience
- [00:37:19.490]it's been wonderful to get
- [00:37:21.190]to watch it continue
- [00:37:22.130]thanks so much
- [00:37:22.750]thank you
- [00:37:23.410]hi I'm AJ
- [00:37:25.290]and I'm here studying
- [00:37:26.750]to be a film editor
- [00:37:27.970]but I've also
- [00:37:29.010]been trying to think about
- [00:37:31.650]trying to create story ideas
- [00:37:33.570]but one problem I've had
- [00:37:35.550]is just trying to create
- [00:37:36.850]a story that
- [00:37:37.610]is different
- [00:37:39.390]and not like
- [00:37:39.950]oh this is just a repeat
- [00:37:41.190]of Superman or something
- [00:37:42.410]what would you say
- [00:37:44.290]would be a good way
- [00:37:45.430]to create a story
- [00:37:47.750]that's different
- [00:37:48.490]well first of all
- [00:37:49.210]it doesn't have to be
- [00:37:50.550]a hundred percent
- [00:37:51.090]different
- [00:37:51.730]it has to be
- [00:37:53.610]the story
- [00:37:55.130]and the characters
- [00:37:55.650]that speak to you
- [00:37:56.550]the best advice
- [00:37:58.450]I can give
- [00:37:59.210]is
- [00:38:00.230]imbue
- [00:38:01.310]yourself
- [00:38:02.550]your values
- [00:38:03.390]the things that matter
- [00:38:04.410]to you
- [00:38:05.030]the characters
- [00:38:06.070]that speak to you
- [00:38:07.070]and create something
- [00:38:08.650]that only you
- [00:38:09.950]can create
- [00:38:10.670]only you can tell
- [00:38:12.510]that version
- [00:38:13.450]of the story
- [00:38:14.050]and don't worry
- [00:38:14.970]about anything else
- [00:38:15.770]honestly don't worry
- [00:38:16.590]about anything else
- [00:38:17.290]you're starting out
- [00:38:18.630]and
- [00:38:20.990]you want to satisfy
- [00:38:22.730]you
- [00:38:23.190]you don't need
- [00:38:24.770]to satisfy me
- [00:38:25.630]you don't need
- [00:38:26.130]to satisfy
- [00:38:26.730]anybody else here
- [00:38:27.930]I mean unless
- [00:38:28.850]you're going to
- [00:38:29.270]get a grade for it
- [00:38:30.130]in which case
- [00:38:30.910]in which case
- [00:38:33.210]disregard
- [00:38:33.750]what I said
- [00:38:34.630]but
- [00:38:36.030]but
- [00:38:37.070]when
- [00:38:38.190]when I was
- [00:38:39.230]one of the
- [00:38:39.930]when I was
- [00:38:40.810]chair of the
- [00:38:41.510]nickel screenwriting
- [00:38:42.270]committee
- [00:38:42.650]people would ask
- [00:38:44.170]what's the best
- [00:38:45.070]advice
- [00:38:45.430]it's like
- [00:38:45.790]you will always
- [00:38:47.270]have a career
- [00:38:48.050]if you can find
- [00:38:49.310]your own
- [00:38:49.950]unique
- [00:38:50.890]voice
- [00:38:51.370]doesn't have
- [00:38:53.070]to necessarily
- [00:38:53.790]be
- [00:38:54.290]a totally
- [00:38:55.950]different
- [00:38:56.290]storyline
- [00:38:56.810]just your
- [00:38:58.330]take on it
- [00:38:59.370]and it's why
- [00:39:00.010]fan fiction
- [00:39:00.710]is so successful
- [00:39:01.850]because fans
- [00:39:03.850]who write
- [00:39:04.290]the most
- [00:39:04.670]successful
- [00:39:05.130]fiction
- [00:39:05.570]are telling
- [00:39:06.830]their unique
- [00:39:08.210]take
- [00:39:08.810]on
- [00:39:10.090]popular
- [00:39:11.450]fiction
- [00:39:11.850]hi
- [00:39:12.750]my name is
- [00:39:13.450]Abby
- [00:39:13.670]we met
- [00:39:14.050]briefly
- [00:39:14.490]upstairs
- [00:39:15.010]first of all
- [00:39:16.810]I wanted to
- [00:39:17.370]say that
- [00:39:18.030]I relate
- [00:39:19.210]to you so
- [00:39:19.650]much about
- [00:39:20.210]like watching
- [00:39:20.790]so much
- [00:39:21.170]sci-fi
- [00:39:21.550]growing up
- [00:39:22.150]every single
- [00:39:22.690]night for
- [00:39:23.150]four years
- [00:39:23.710]of my
- [00:39:24.110]like young
- [00:39:25.450]adult life
- [00:39:26.130]my family
- [00:39:26.590]would sit
- [00:39:26.910]down and
- [00:39:27.250]watch Star
- [00:39:27.650]Trek together
- [00:39:28.190]so that's
- [00:39:28.810]like what
- [00:39:29.810]got me
- [00:39:30.190]really interested
- [00:39:30.870]in visual
- [00:39:31.330]effects
- [00:39:31.730]and down
- [00:39:33.250]the line
- [00:39:33.630]I want
- [00:39:34.650]to eventually
- [00:39:35.130]be a visual
- [00:39:35.970]effects
- [00:39:36.270]producer
- [00:39:36.630]so I was
- [00:39:38.450]wondering if
- [00:39:38.950]you had
- [00:39:39.650]a piece
- [00:39:40.190]of advice
- [00:39:40.630]that you
- [00:39:40.990]would give
- [00:39:41.470]to yourself
- [00:39:42.610]or like
- [00:39:43.750]producers
- [00:39:44.130]at this
- [00:39:44.570]age
- [00:39:44.910]like of
- [00:39:46.450]like a
- [00:39:47.190]mindset
- [00:39:47.670]or a
- [00:39:48.810]career
- [00:39:49.050]move
- [00:39:49.410]or like
- [00:39:49.710]just a
- [00:39:50.070]piece
- [00:39:50.210]of advice
- [00:39:50.550]for
- [00:39:50.690]anyone
- [00:39:50.950]who wants
- [00:39:51.390]to get
- [00:39:51.670]into
- [00:39:52.130]any sort
- [00:39:52.750]of
- [00:39:52.890]producing
- [00:39:53.350]what would
- [00:39:54.390]you think
- [00:39:55.290]do
- [00:39:55.690]now
- [00:39:56.590]advice
- [00:39:57.050]wise
- [00:39:57.410]well
- [00:39:57.890]the key
- [00:39:58.590]thing
- [00:39:58.950]that
- [00:39:59.210]was so
- [00:40:00.330]invaluable
- [00:40:00.810]for me
- [00:40:01.190]was
- [00:40:01.390]trying
- [00:40:02.110]to learn
- [00:40:02.490]even if
- [00:40:02.830]I wasn't
- [00:40:03.190]any good
- [00:40:03.570]at it
- [00:40:03.930]all the
- [00:40:04.910]different
- [00:40:05.110]jobs
- [00:40:05.410]on set
- [00:40:05.830]and
- [00:40:07.270]that way
- [00:40:08.650]I have
- [00:40:09.550]the vocabulary
- [00:40:10.210]to talk
- [00:40:11.070]to everyone
- [00:40:11.630]in the team
- [00:40:12.290]and not
- [00:40:13.330]you know
- [00:40:13.750]come up
- [00:40:14.110]with stuff
- [00:40:14.530]that literally
- [00:40:15.270]doesn't speak
- [00:40:16.070]or relate
- [00:40:16.690]to what
- [00:40:17.530]they're doing
- [00:40:17.950]at all
- [00:40:18.330]so
- [00:40:19.090]that's
- [00:40:19.830]number one
- [00:40:20.290]number
- [00:40:20.590]two is remembering that as a producer, I am there to lead the team. And I need to inspire. Sometimes
- [00:40:29.310]I need to be the cheerleader. Sometimes I need to be the drill sergeant. Sometimes I need to
- [00:40:34.490]bake cookies, you know, and make sure people are eating and sort of be, you know, the godmother.
- [00:40:43.810]And, you know, and literally I want people to be able to trust me. I want people to be able to
- [00:40:50.670]trust me when they're struggling. And be able to tell me the truth. So those are all the things I
- [00:41:00.990]think are essential for producers to be successful. Thank you so much.
- [00:41:05.010]Hi, my name is Abby Wigdell. And I just wanted to say that I really related to your story about
- [00:41:12.030]sci-fi and that my entire...
- [00:41:13.790]family is a big fan of the Walking Dead series. So thank you for that. And other than that,
- [00:41:20.490]I really want to get into animation and production. Growing up, what do you recommend for somebody who
- [00:41:26.390]wants to make a story that relates to basically any age and that just people can really resonate
- [00:41:34.410]with and just feel things with? Well, most of my things are not rated G.
- [00:41:40.930]I get it.
- [00:41:42.850]So I would not say I'm necessarily the best person to answer that question.
- [00:41:47.850]But once again, I think it is at the age that you most want to reach, what story would have
- [00:41:56.830]appealed to you most? What would have touched you? What would have expanded your universe?
- [00:42:02.950]And who are the characters that you would relate to so that that story can be told through them?
- [00:42:11.910]That, to me, that works for absolutely every genre. It works for every story.
- [00:42:17.890]So, you know, that's what I continue to try to do, and that's what I encourage everyone in this
- [00:42:24.250]room to do. Thank you so much. You worked on The Walking Dead, and there was originally comics
- [00:42:30.890]for that. How difficult is it to turn a comic into a film or animated series?
- [00:42:35.450]Well, you know, obviously I've also worked on Marvel movies,
- [00:42:40.970]including Punisher, and then I screwed up Eon Flux, but don't hold that against me.
- [00:42:49.810]You know, it was a bold swing. Maybe it was not a total miss. But I think the key thing
- [00:43:03.430]is to make sure that the creator is on board with you.
- [00:43:10.030]And that was 100% true with Robert Kirkman on The Walking Dead. He was involved. He was
- [00:43:16.450]in the writer's room breaking the story for the first few seasons. And Stan Lee was involved
- [00:43:24.750]in absolutely every Marvel film that I made. And we got to be good friends.
- [00:43:31.510]So, you know, so the first thing you want to do is make sure if the creator is still alive,
- [00:43:39.090]that they are involved and happy. Now, Peter Chung from Eon Flux is like, ah, no, not for me.
- [00:43:45.110]And, you know, so you can't control that decision either. But to me, the most important thing is
- [00:43:54.130]the input from the creator, what they were going for, and what the canon is.
- [00:44:01.670]You know, what are the rules that they followed in creating the universe and the characters?
- [00:44:08.150]And that's something we always try to embrace in every adaptation.
- [00:44:11.090]Thank you.
- [00:44:13.090]Hi, thank you so much for being here.
- [00:44:15.650]My name's Cole. I'm a second year here.
- [00:44:17.410]So I guess my question is, from my understanding,
- [00:44:20.470]you have done a lot of co-writing, like collaboration in the writing process.
- [00:44:25.390]I guess I'm just curious if you'd have any insight into what you think
- [00:44:32.370]really helps, like, a collaborative process be really productive.
- [00:44:37.210]Is it about, like, just finding people that you think you have a natural flow with,
- [00:44:41.410]or are there things you can, you know?
- [00:44:43.510]Because I feel like sometimes I have had projects where I feel like
- [00:44:47.490]I've been working with people that I have a lot of natural chemistry with,
- [00:44:51.350]but still there can be, like, road bumps in making sure
- [00:44:53.510]both of your ideas synergize well.
- [00:44:55.510]You know, each collaboration is different because not only is every person different,
- [00:45:01.870]but when you bring two people together, that fit is going to be different.
- [00:45:07.190]You know, different puzzle pieces.
- [00:45:08.970]And in some cases, what I found worked best was
- [00:45:14.390]someone was maybe much better at structure and story.
- [00:45:19.430]Another person was really good at character and dialogue.
- [00:45:24.590]So figure out each other's strengths.
- [00:45:27.150]And often, it has been a very, very long time where I was first writer,
- [00:45:33.570]where I was the person who essentially put it all down on paper
- [00:45:36.930]first.
- [00:45:37.390]Back then, it was paper.
- [00:45:39.490]There were no word processors.
- [00:45:42.050]There was no miniature, you know, there were no computers.
- [00:45:45.990]But each time, it's going to be a little bit different.
- [00:45:51.010]And the hardest part is ego.
- [00:45:53.910]The hardest part is not taking things personally.
- [00:45:57.690]And sometimes you work with people who don't know how to make their
- [00:46:01.730]criticism constructive.
- [00:46:02.890]It always seems personal.
- [00:46:06.670]We can either get past that, and maybe I was the one who was doing
- [00:46:11.790]that, and then you really need people who are going to be honest with
- [00:46:15.270]you, and you can be honest with them.
- [00:46:16.750]And sometimes it's just not going to work out.
- [00:46:18.730]But in many cases, you can get over those speed bumps.
- [00:46:24.370]Hopefully you don't have a deadline that makes it impossible to figure
- [00:46:29.770]things out before it's too late.
- [00:46:31.510]Thank you.
- [00:46:32.950]Hello.
- [00:46:34.290]I'm Gordon.
- [00:46:35.330]I'm a second year here at
- [00:46:36.410]EMA.
- [00:46:36.710]I'm here studying filmmaking and hope to work someday in the industry,
- [00:46:41.330]either in screenwriting or the sound department.
- [00:46:43.510]And just want to say, growing up, watched probably Armageddon and
- [00:46:48.870]Terminator a thousand times with my dad's household.
- [00:46:51.230]So it's amazing to be here and amazing to get to ask a question to you
- [00:46:55.690]and get referred to come all the way down to Nebraska.
- [00:46:57.830]So the question I have today is how you obviously worked your way up
- [00:47:03.610]from being a PA all the way to one of the most
- [00:47:06.150]influential producers in modern Hollywood.
- [00:47:08.390]How did you, going from being the mentor to the mentor,
- [00:47:12.910]how would you recommend or give advice to somebody nowadays
- [00:47:17.050]at finding connections and getting their foot in the door
- [00:47:19.890]in the modern Hollywood?
- [00:47:21.510]Well, you have the benefit of the internet, which we didn't.
- [00:47:25.710]So you have the ability to get your work seen.
- [00:47:31.950]It was really, really hard back then.
- [00:47:35.890]I don't know if, do any of you know the short film that Jim Cameron made
- [00:47:42.390]that got him his entree into, I'm giving you a lot of homework, I'm just warning you,
- [00:47:48.550]that got him his entree, his foot in the door with Roger Corman.
- [00:47:52.530]Okay.
- [00:47:54.910]It's called Xenogenesis.
- [00:47:57.870]It's X-E-N-O-G-E-N-E-S-I-S.
- [00:48:02.510]He made a short film.
- [00:48:05.710]He wouldn't quite refer to it this way,
- [00:48:08.890]but he fleeced a lot of dentists in Orange County, California,
- [00:48:12.830]and got them to put up money for a short film
- [00:48:15.250]in which he wrote the script,
- [00:48:17.590]he designed everything,
- [00:48:20.730]he did all the visual effects,
- [00:48:22.370]got some actors to do it,
- [00:48:24.630]and that was his calling card.
- [00:48:26.390]Now, back then, you had to have a 16-millimeter,
- [00:48:29.090]and someone had to have a 16-millimeter facility
- [00:48:32.550]to screen it, which Roger,
- [00:48:35.690]did, and he hired him to build models
- [00:48:37.710]on Battle Beyond the Stars
- [00:48:39.510]based on an entire short film
- [00:48:42.470]that he wrote, directed,
- [00:48:43.550]you know, did everything for,
- [00:48:46.110]which explains to you why Jim Cameron
- [00:48:48.150]can and does do everything on all of his films
- [00:48:50.830]because he did back then, including editing,
- [00:48:52.670]including cinematography,
- [00:48:54.690]and all of that.
- [00:48:55.590]So it's much easier now.
- [00:48:58.710]And what really impressed me this morning
- [00:49:01.330]when I saw some of the student work
- [00:49:02.910]is that you're already going
- [00:49:05.670]to have calling cards
- [00:49:07.050]that you can share.
- [00:49:08.710]And it doesn't have to be
- [00:49:11.490]with traditional old fogies like me.
- [00:49:13.410]You can find your audience
- [00:49:16.770]and your connections
- [00:49:17.850]on the internet.
- [00:49:19.870]And I do not believe
- [00:49:23.390]that Hollywood
- [00:49:23.970]or the idea of Hollywood
- [00:49:26.070]is the be-all and end-all.
- [00:49:28.150]You can carve your own path
- [00:49:30.010]without ever going through Hollywood.
- [00:49:32.710]So just expand your horizons.
- [00:49:35.650]And let them be limitless
- [00:49:37.930]and find your own path.
- [00:49:40.250]And if it brings you
- [00:49:41.570]to Hollywood, great.
- [00:49:42.270]And if it doesn't,
- [00:49:43.210]that doesn't mean
- [00:49:44.490]it's any less successful.
- [00:49:46.250]Thank you.
- [00:49:48.130]Is there any point
- [00:49:50.330]in your writer
- [00:49:51.310]or producer career
- [00:49:52.690]that you wish
- [00:49:53.550]you could have done differently?
- [00:49:55.390]God, every day?
- [00:49:57.090]Are you kidding?
- [00:49:57.770]Anything in particular?
- [00:50:00.050]I mean, come on.
- [00:50:00.710]How many of you are like,
- [00:50:02.050]oh, this is perfect.
- [00:50:03.150]I couldn't have done it
- [00:50:04.990]any better.
- [00:50:05.630]If you think that way,
- [00:50:07.430]perhaps this isn't a career for you.
- [00:50:08.970]You always have to say,
- [00:50:11.590]you know,
- [00:50:12.890]I wish I could have done it better.
- [00:50:14.270]I don't have the time.
- [00:50:15.150]I don't have the money.
- [00:50:16.050]But you don't want
- [00:50:19.070]to already settle for good enough.
- [00:50:20.830]You want to do the best you can
- [00:50:22.630]given the time and the money.
- [00:50:25.210]So, yes,
- [00:50:26.570]there's not a moment
- [00:50:27.850]where I sit back and go,
- [00:50:29.430]God, man,
- [00:50:31.130]look how amazing that is.
- [00:50:32.710]I am amazed, by the way,
- [00:50:34.350]I have to tell you,
- [00:50:35.610]because last year
- [00:50:36.450]was the 40th anniversary
- [00:50:37.450]of The Terminator.
- [00:50:38.130]I saw The Terminator
- [00:50:39.150]a few times in theaters.
- [00:50:40.270]I'm like,
- [00:50:40.970]how the hell did we do that?
- [00:50:42.870]I cannot believe it.
- [00:50:44.430]I mean, I still saw,
- [00:50:46.010]and in almost every scene,
- [00:50:47.250]I'm like, oh, God,
- [00:50:48.250]and I cringed,
- [00:50:49.070]which you should.
- [00:50:50.570]I hope you don't,
- [00:50:52.530]but I do.
- [00:50:53.150]And I thought,
- [00:50:55.850]this is remarkable.
- [00:50:57.310]I remember now
- [00:50:58.750]how little I knew,
- [00:51:00.510]all the restrictions,
- [00:51:02.110]all the problems,
- [00:51:03.130]every scene,
- [00:51:04.890]I was like,
- [00:51:05.330]I remember,
- [00:51:05.590]I remember the day on set
- [00:51:06.670]where we shot it.
- [00:51:07.550]And I remember the limitations
- [00:51:09.590]and I thought,
- [00:51:10.150]it's still a really good movie
- [00:51:12.510]in spite of all of the compromises
- [00:51:15.270]we had to make.
- [00:51:16.370]So just try to aim for
- [00:51:19.310]doing the best I can
- [00:51:21.010]in every moment,
- [00:51:21.950]in every scene,
- [00:51:23.030]in every frame.
- [00:51:24.070]And I just want to not be
- [00:51:28.490]totally embarrassed when I'm done.
- [00:51:30.210]Thank you very much.
- [00:51:33.650]Hi.
- [00:51:34.490]My name is Dan.
- [00:51:35.570]I'm a first year.
- [00:51:37.090]And I was just wondering,
- [00:51:39.370]considering that a large portion
- [00:51:41.170]of your work is sci-fi sort of action,
- [00:51:43.630]if you ever felt
- [00:51:45.490]a little bit of fatigue
- [00:51:46.670]working in the same genre?
- [00:51:48.170]God, no.
- [00:51:49.230]Can you imagine doing what you love
- [00:51:52.270]and being paid for it?
- [00:51:53.550]It's not like if I told
- [00:51:57.070]the same story over and over again
- [00:51:59.170]and different, you know.
- [00:52:00.350]But no.
- [00:52:01.430]The hardest part for me, actually,
- [00:52:04.830]was when I was like,
- [00:52:05.550]I want to tell stories
- [00:52:07.630]in a different genre.
- [00:52:09.290]That was really hard
- [00:52:11.190]because I'd already been pigeonholed
- [00:52:12.550]as, okay, well, you only do this.
- [00:52:15.510]So you're only capable of doing this.
- [00:52:18.430]So, you know,
- [00:52:20.150]so when I made the water dance,
- [00:52:22.610]which surprised everyone
- [00:52:24.770]and won the audience award
- [00:52:26.210]at the Sundance Film Festival,
- [00:52:27.950]which has no sci-fi whatsoever,
- [00:52:30.470]it shocked people.
- [00:52:32.850]And then I started doing documentaries
- [00:52:35.530]and that shocked people.
- [00:52:37.490]You know, and then television.
- [00:52:40.670]That shocked people.
- [00:52:42.930]But you want to keep pushing yourself.
- [00:52:45.770]You want to keep...
- [00:52:49.150]But I'll never lose my love
- [00:52:52.330]for science fiction, fantasy, and horror
- [00:52:54.170]because I'm a nerd,
- [00:52:56.130]I'm a genre girl,
- [00:52:57.510]and I'm proud of it.
- [00:52:59.010]Thank you very much.
- [00:53:00.830]Hey there.
- [00:53:02.110]My name's Caden.
- [00:53:03.130]Just want to say again,
- [00:53:03.970]thank you so much for being here.
- [00:53:05.150]We all really appreciate it.
- [00:53:05.510]We all really appreciate it.
- [00:53:06.370]And I was just curious about your relationship.
- [00:53:08.750]You talked about it a little bit earlier,
- [00:53:10.530]but your relationship to the idea of faking it
- [00:53:13.230]until you make it,
- [00:53:13.990]and if there was ever a point in your career
- [00:53:16.510]where you felt like you had phased out of that,
- [00:53:19.410]or is that something that just never goes away?
- [00:53:21.270]I think that this may be something
- [00:53:24.570]women experience more than others,
- [00:53:25.910]but having not been a man, I'm not sure.
- [00:53:28.670]Constant imposter syndrome.
- [00:53:32.450]You know, you always,
- [00:53:35.490]you always wonder, you know,
- [00:53:36.910]is this a fluke?
- [00:53:38.670]And in Hollywood,
- [00:53:41.510]I don't know about elsewhere,
- [00:53:42.970]but the people
- [00:53:45.710]who are entrenched in positions of power
- [00:53:47.350]want you to feel like it's a fluke.
- [00:53:49.590]One of the most important
- [00:53:51.710]lunches of my life was when
- [00:53:53.230]Roger Corman, after the Terminator came out
- [00:53:55.590]and was a surprise hit,
- [00:53:56.910]took me to lunch and said,
- [00:53:59.250]Gale, this is not a fluke.
- [00:54:01.450]I mean, that's how he started the lunch.
- [00:54:02.890]I'm like, what? What?
- [00:54:04.130]He said,
- [00:54:05.470]I know Hollywood
- [00:54:06.810]and people are probably telling you,
- [00:54:09.650]yeah, you got lucky this one time.
- [00:54:11.670]It's a fluke.
- [00:54:12.590]It's not going to happen again.
- [00:54:13.710]It is not true.
- [00:54:14.930]You are an excellent producer.
- [00:54:18.550]And he told me that
- [00:54:20.210]right when I needed to hear it,
- [00:54:21.910]when I was wondering.
- [00:54:22.770]Because at the time I was getting the,
- [00:54:25.410]you know,
- [00:54:26.310]how can a little girl like you
- [00:54:28.290]produce a big movie like this?
- [00:54:29.650]And I started to wonder
- [00:54:30.630]whether it really was a fluke.
- [00:54:32.710]So,
- [00:54:35.450]you know,
- [00:54:36.010]first,
- [00:54:37.210]when you say fake it till you make it,
- [00:54:40.050]what I encourage you to do
- [00:54:43.450]is do all of your homework.
- [00:54:45.470]Have all the skill set.
- [00:54:47.090]So that the only thing you're faking
- [00:54:49.070]is that you don't necessarily have the expertise
- [00:54:51.690]that someone who's been doing it for years and years has,
- [00:54:54.210]but you have the ability
- [00:54:57.370]and you have the skill set.
- [00:54:59.590]Because a lot of faking it is
- [00:55:01.390]you really don't.
- [00:55:02.950]You know,
- [00:55:04.330]with Roger Corman,
- [00:55:05.430]when he would throw us into things,
- [00:55:07.070]we at least had the support system of other people
- [00:55:10.870]who had done it
- [00:55:12.630]as informal mentors
- [00:55:15.910]that would help us out.
- [00:55:17.850]But he was forcing us
- [00:55:21.730]to fake it until we made it.
- [00:55:23.330]We didn't, you know,
- [00:55:26.330]sort of jump in the deep end ourselves.
- [00:55:29.530]We were pushed in.
- [00:55:30.590]Thank you so much.
- [00:55:32.750]Hi, I'm Caden McCandless.
- [00:55:35.410]My question is,
- [00:55:36.830]when you're on a set
- [00:55:38.610]or on any sort of project,
- [00:55:40.330]is there any key details
- [00:55:42.430]to the production
- [00:55:43.530]that can kind of reveal
- [00:55:44.970]if it's going to be a success or failure?
- [00:55:47.970]God, no.
- [00:55:48.650]No? Oh.
- [00:55:49.330]God, no.
- [00:55:51.010]I mean, if I was sitting there on set going,
- [00:55:52.570]I wonder if this decision
- [00:55:53.670]and this frame,
- [00:55:55.210]this setup that we're shooting right now
- [00:55:57.090]is going to make or break the film.
- [00:55:58.310]You can't, you have to remember,
- [00:56:01.890]as a producer anyway,
- [00:56:03.570]you know, you've got,
- [00:56:05.390]to be able to see the forest,
- [00:56:06.810]not just the trees.
- [00:56:08.650]You have to make sure that all the trees
- [00:56:10.530]are where they need to be
- [00:56:11.750]so you actually have a forest at the end.
- [00:56:13.590]But no, I mean, there are times
- [00:56:16.150]when I have said,
- [00:56:17.750]this scene is seminal.
- [00:56:20.370]If we don't get this one right,
- [00:56:22.410]I mean, if we didn't,
- [00:56:23.450]if we screwed up in Aliens,
- [00:56:25.110]the get away from her bitch scene,
- [00:56:27.030]but remember, that was done,
- [00:56:29.810]there was some on set,
- [00:56:31.630]but a lot of it was miniatures,
- [00:56:33.510]a lot of it was in post-production
- [00:56:35.370]so we couldn't even know until
- [00:56:37.270]much later on.
- [00:56:39.010]What you do have control over is
- [00:56:42.010]the performances,
- [00:56:43.850]you have control
- [00:56:45.890]over the
- [00:56:47.170]practical effects and lighting on set
- [00:56:50.170]and then
- [00:56:53.270]editorial and then
- [00:56:55.150]the thing that people always
- [00:56:57.870]forget, not only sound but music
- [00:56:59.750]and I
- [00:57:01.790]think the importance of
- [00:57:03.690]sound in music and I know
- [00:57:05.350]that one of the other people
- [00:57:07.550]asked questions said they were interested in sound
- [00:57:09.690]are absolutely essential
- [00:57:11.550]and people
- [00:57:13.490]forget how important it is
- [00:57:15.410]to get all three right.
- [00:57:16.970]The visual, the
- [00:57:19.030]sound effects and the music.
- [00:57:20.910]Alright, thank you.
- [00:57:23.230]Thanks.
- [00:57:23.650]Hi, Jack Trenelone here.
- [00:57:26.570]Anyways, thank you so much for coming
- [00:57:29.790]and so when
- [00:57:31.610]you're working on your scripts, how do
- [00:57:33.670]you get through writer's block?
- [00:57:35.330]I work
- [00:57:37.650]with other people and hopefully
- [00:57:39.590]they don't have writer's block at the same
- [00:57:41.710]time.
- [00:57:42.090]And I
- [00:57:45.610]find that it's really, a couple of
- [00:57:47.590]things are really important.
- [00:57:48.490]I am not good sitting too long.
- [00:57:51.230]I think it's important
- [00:57:53.390]to get up, to move around.
- [00:57:54.970]It's really important to me to be out in nature.
- [00:57:57.630]Nature is
- [00:57:59.570]what refuels me and
- [00:58:01.590]rekindles my
- [00:58:02.930]connection to the world.
- [00:58:05.310]And also
- [00:58:06.250]being around
- [00:58:08.890]other people.
- [00:58:09.590]So
- [00:58:12.570]generally that really helps.
- [00:58:14.790]And I remember when Jim
- [00:58:16.790]was writing Aliens,
- [00:58:19.150]he was also writing
- [00:58:21.250]First Blood
- [00:58:23.850]Part 2
- [00:58:24.970]and I think
- [00:58:27.250]something else. So he had multiple
- [00:58:29.050]things he was working on at the same time.
- [00:58:30.870]And if he got writer's block with one,
- [00:58:32.650]he would move over
- [00:58:35.290]to, he literally had different
- [00:58:36.930]environments that he created and he'd listen
- [00:58:38.970]to different music.
- [00:58:40.150]So for him, it was the music.
- [00:58:43.090]So he
- [00:58:44.710]listened to like Marsbringer of War
- [00:58:46.870]for Aliens.
- [00:58:48.790]And
- [00:58:50.610]so he'd put headphones on,
- [00:58:52.810]listen to that to prepare
- [00:58:55.070]himself for Aliens and he'd listen to different
- [00:58:57.010]music for Rambo First Blood Part 2
- [00:58:59.010]and that was what
- [00:59:00.830]got him
- [00:59:01.630]to clear his writer's
- [00:59:05.270]block. So I don't know what works for you
- [00:59:07.410]but those are tools that
- [00:59:09.310]I and people I've worked with have used.
- [00:59:11.470]Thank you so much.
- [00:59:12.950]Hello Gale, thanks
- [00:59:15.250]for coming. I drove down
- [00:59:17.350]from Omaha with one specific
- [00:59:19.310]purpose in mind and that's
- [00:59:21.310]to pitch you a sequel
- [00:59:23.490]to Alfred Hitchcock's
- [00:59:25.270]North by Northwest
- [00:59:26.670]called South by Southeast.
- [00:59:29.330]And I have for you not
- [00:59:31.290]a treatment, but I have for you
- [00:59:33.330]a teaser and I would love
- [00:59:35.250]to have you take a look. I can't. I know.
- [00:59:37.350]They're the legal things there. No, I
- [00:59:39.370]know. And I'm sorry because that
- [00:59:41.250]is absolutely amazing. I don't know if
- [00:59:43.290]you know, but at the Motion
- [00:59:45.190]Picture Academy Museum
- [00:59:46.950]there is a herd gallery
- [00:59:48.990]and the first exhibition
- [00:59:51.490]they had
- [00:59:52.310]was the backdrop
- [00:59:54.870]from North by Northwest.
- [00:59:57.470]And
- [00:59:58.750]I was a good friend
- [01:00:01.210]of Eva Marie Saint
- [01:00:03.050]and so
- [01:00:05.230]that movie, North by
- [01:00:07.310]Northwest, is a seminal
- [01:00:09.370]movie for me. And I think it's fantastic
- [01:00:11.610]and, you know, we
- [01:00:13.210]had dinner last night with people
- [01:00:15.090]and I love the idea also
- [01:00:17.050]of celebrating
- [01:00:19.550]Nebraska, celebrating the Midwest.
- [01:00:21.390]There's just not enough of
- [01:00:23.350]that in film
- [01:00:25.150]today or in TV. It's almost
- [01:00:27.450]I love Nebraska.
- [01:00:29.030]Love Omaha. Been there
- [01:00:30.790]twice. Ancestors from
- [01:00:33.330]Lincoln. And I feel like
- [01:00:35.210]I should be wearing a University
- [01:00:37.190]of Nebraska baseball cap and be an
- [01:00:38.970]honorary
- [01:00:39.410]Husker.
- [01:00:42.270]So then the question is
- [01:00:44.970]how does, I'm sure there's
- [01:00:47.230]lots of great ideas
- [01:00:49.270]out here. There's probably a lot of work
- [01:00:50.950]that people are coming up with.
- [01:00:52.950]Story ideas. How do we here in
- [01:00:55.150]the Midwest get
- [01:00:57.150]a story like this?
- [01:00:59.010]Don't go to Hollywood.
- [01:00:59.570]I'm sorry.
- [01:01:01.390]Hollywood is not the be all end all.
- [01:01:05.190]Find a way
- [01:01:08.370]of doing it here.
- [01:01:10.490]I honestly
- [01:01:13.050]believe you've got
- [01:01:14.610]people here
- [01:01:16.930]that you can collaborate with. You have
- [01:01:18.830]incredible talent here.
- [01:01:20.990]And
- [01:01:22.590]to me,
- [01:01:24.290]homegrown is best.
- [01:01:25.910]We were talking last night about one of my
- [01:01:29.150]favorite movies. It's called
- [01:01:31.070]Tangerine. Maybe not everyone's
- [01:01:33.290]great movie. It was shot on an iPhone.
- [01:01:35.170]For goodness sake.
- [01:01:35.910]It's great. So the idea
- [01:01:39.230]that somehow you need to be
- [01:01:40.810]get Hollywood
- [01:01:43.010]stamp of approval,
- [01:01:44.070]that's no longer the case.
- [01:01:46.910]We all have the tools.
- [01:01:48.970]Every one of you sitting here in this room
- [01:01:51.390]do not need me.
- [01:01:53.010]I'm sorry.
- [01:01:54.310]I know I'm missing out. But you don't
- [01:01:57.150]need me. You have each
- [01:01:58.990]other. You will create your own
- [01:02:01.050]teams and find the way
- [01:02:05.150]with your group.
- [01:02:06.910]With your
- [01:02:08.850]allies here.
- [01:02:09.830]To create these stories.
- [01:02:12.570]Get them made and get them
- [01:02:14.970]seen. So if there's nothing
- [01:02:16.830]else that you take from today, it's
- [01:02:18.870]the confidence that you can do it.
- [01:02:20.870]You just need to find
- [01:02:23.050]if I may quote a movie
- [01:02:24.790]your posse.
- [01:02:26.930]Thank you. This was
- [01:02:28.990]a story that I wanted
- [01:02:30.830]to get rid of for a long time.
- [01:02:32.810]Out of my head. I've done it.
- [01:02:34.190]And I've
- [01:02:35.130]had my chance. So thank you very much.
- [01:02:36.850]Thank you. Hi, my name's Natalie.
- [01:02:38.990]I feel like this has already
- [01:02:40.830]sort of been asked, but I want to know
- [01:02:42.370]knowing all that you know and all the experiences
- [01:02:44.870]you've had in your career, what advice would you give
- [01:02:46.850]to people who are at the very beginning of their careers?
- [01:02:48.990]I would say
- [01:02:50.830]make sure that you've really done
- [01:02:52.750]your homework to the best
- [01:02:54.670]of your ability to develop the skills
- [01:02:56.970]that you'll need.
- [01:02:57.990]And
- [01:03:01.010]because
- [01:03:03.170]if you haven't,
- [01:03:05.110]you will be found out.
- [01:03:07.070]Which is why
- [01:03:09.030]I constantly say, tell the truth.
- [01:03:11.430]You know?
- [01:03:12.890]And be enthusiastic.
- [01:03:15.210]One of the things that helped
- [01:03:17.270]me in my career,
- [01:03:18.170]so I'll give you some examples of pitfalls.
- [01:03:21.570]I've had people
- [01:03:23.550]come in for entry-level jobs
- [01:03:25.290]at my company, starting out
- [01:03:27.270]with a list of things they won't do.
- [01:03:28.950]I will say this is taught to them
- [01:03:33.150]by places like USC,
- [01:03:35.090]film school, which is why
- [01:03:36.890]I rarely hire from USC film school.
- [01:03:39.110]I won't make coffee,
- [01:03:41.130]not that we need to do,
- [01:03:43.290]I won't photocopy.
- [01:03:45.330]Well, sometimes you actually do need to photocopy.
- [01:03:47.550]And literally
- [01:03:49.330]a list of five or six things they won't do.
- [01:03:51.730]And I stand up, shake their hand,
- [01:03:53.350]and say, then you won't work here.
- [01:03:54.610]And they're like, what?
- [01:03:55.690]I said, I did all of that. I still do all of that.
- [01:03:58.970]I'll empty the trash.
- [01:04:00.590]I will do whatever it is that needs to be done.
- [01:04:03.070]If I'm the person with the most
- [01:04:05.070]time and bandwidth to
- [01:04:06.990]do it. So if I'm
- [01:04:08.990]okay doing it,
- [01:04:10.010]you haven't done a damn thing in the film industry
- [01:04:13.070]yet, and you won't do it?
- [01:04:14.890]Well, you're not a good fit
- [01:04:16.890]for me. So I think that's the
- [01:04:18.970]other thing, is that
- [01:04:20.470]you know,
- [01:04:21.430]it didn't matter that I was top of
- [01:04:24.970]my class at Stanford. It didn't
- [01:04:26.870]matter that, you know,
- [01:04:28.530]I've done all these things. I'll still
- [01:04:30.790]pick up trash on the set. I will still
- [01:04:32.990]look, and if someone has thrown
- [01:04:35.050]the trash into the
- [01:04:36.890]recycling, I will take
- [01:04:38.910]it out and put it in recycling.
- [01:04:40.690]I mean, everyone needs
- [01:04:42.950]to realize that as part of a team
- [01:04:44.990]you contribute
- [01:04:47.150]and you do what needs to be done.
- [01:04:48.670]Now, that doesn't mean being taken advantage
- [01:04:51.090]of, but what I discovered
- [01:04:53.310]that was really a surprise
- [01:04:55.330]to a lot of people. If you're
- [01:04:57.170]the best at whatever
- [01:04:59.010]menial task you've been
- [01:05:01.190]assigned, surprisingly
- [01:05:02.950]instead of continuing to
- [01:05:05.030]have to do that menial task, you'll be given
- [01:05:07.050]more responsibility and more responsibility
- [01:05:08.950]and more responsibility. And that is
- [01:05:11.130]a secret that most people don't know.
- [01:05:12.630]So that's my advice.
- [01:05:14.510]Thank you.
- [01:05:15.550]Hi, I promise my question is short.
- [01:05:21.290]Well, my answer may not be, so.
- [01:05:22.950]My name is
- [01:05:25.010]Naomi Rock, and my question is just
- [01:05:27.210]what is the best piece of advice you've
- [01:05:29.010]received in the industry?
- [01:05:30.270]Goodness,
- [01:05:32.750]wow.
- [01:05:35.010]I guess
- [01:05:36.670]the best, you know,
- [01:05:39.370]the best piece of advice, the first one
- [01:05:41.470]was that
- [01:05:43.190]Terminator wasn't a fluke, and I was actually good
- [01:05:45.530]at what I did, because I
- [01:05:47.430]didn't believe it at the time,
- [01:05:48.910]and I needed someone to hit me over the head
- [01:05:51.450]and convince me. That was
- [01:05:53.450]true. And
- [01:05:55.230]also not to believe
- [01:05:57.550]it when,
- [01:05:59.230]two things, when people
- [01:06:00.690]tell you you're
- [01:06:03.310]brilliant, the minute someone starts telling me how
- [01:06:04.990]brilliant I am, I'm like, okay, what are
- [01:06:07.090]they asking for and why are they lying?
- [01:06:09.090]You know, because
- [01:06:12.910]at the end of the day, I don't take
- [01:06:15.150]overly aggressive
- [01:06:16.890]compliments as
- [01:06:19.090]well as overly negative
- [01:06:20.890]criticism. So
- [01:06:23.190]you know, so I think it's
- [01:06:24.990]important just to be
- [01:06:26.970]able to keep grounded,
- [01:06:28.490]which is once again why it's
- [01:06:30.970]so important to have a support
- [01:06:32.910]group of other people whom you
- [01:06:34.970]can trust, and to
- [01:06:36.850]always be able to run
- [01:06:39.070]things past them and say, someone, you
- [01:06:41.030]know, I just turned this in, and
- [01:06:42.590]you know, and I thought it was pretty
- [01:06:45.030]good, and you know, and I got this feedback.
- [01:06:46.870]You know, what do
- [01:06:49.030]you think? And to be able to accept
- [01:06:50.950]any constructive criticism
- [01:06:52.890]and also be able to
- [01:06:54.970]keep your own self-esteem and self
- [01:06:57.030]confidence so that you don't
- [01:06:59.130]give up. There are, I know,
- [01:07:00.710]out there in the world, there are incredibly
- [01:07:02.730]talented filmmakers
- [01:07:04.950]who never made a film
- [01:07:06.510]because
- [01:07:07.730]they just gave up.
- [01:07:10.730]And, you know,
- [01:07:15.270]and it's a pity because I think
- [01:07:16.890]the world would have been better for their
- [01:07:19.150]work. On the other
- [01:07:21.130]hand, they may not have had
- [01:07:23.050]that support network.
- [01:07:24.270]And all of us need it, regardless
- [01:07:26.870]of how far you are,
- [01:07:29.090]you know, along the spectrum
- [01:07:31.090]of success.
- [01:07:31.750]Thank you so much and thank you for being here.
- [01:07:34.930]Thank you.
- [01:07:35.330]Applause
- [01:07:37.330]Applause
- [01:07:39.330]Applause
- [01:07:41.330]Applause
- [01:07:43.330]Thank you.
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