19 Wednesday Dec 2018
Posted in Development, Financing, Interviews, Post-Production, Pre-Production, Production, Release
Our projects continue to grow and develop. But we’ve moved everything to one centralized location: Fatelink.com. You’ll find every single article on this film archived there….and many new ones, too.
So please, if you enjoy reading about the creative process and want to check in on how Inside-Out, Outside-In is developing, follow our blog there.
Sincerely,
Hunter Lee Hughes
Founder, Fatelink
05 Thursday Feb 2015
Posted in Production
Some of the most creative minds on the planet – now and in the past – have been INFP on the Myers Briggs personality index. Artists and philosophers like Bjork, Terrence Malick, David Lynch, Heath Ledger, Johnny Depp, Kurt Cobain, Soren Kierkegaard, Albert Camus, George Orwell and even William Shakespeare are reputed to be our fellow INFPs. We are, by many reports, a rare type – around 2% of the population at large (although some stats show us at more like 4%) and are alternately described as “dreamers,” “visionaries,” “healers,” and “imaginative idealists.”
By contrast, the classic “CEO” personality type is widely considered to be ESTJ. Yep, that is pretty much the polar opposite of the INFP type.
So that begs the question…INFPs may have vision and insight and empathy…but can we lead?
As a feature film director of Guys Reading Poems, I’ve found that the answer is “yes.” However, we INFPs are by nature a different kind of leader than other types. Here are some steps I suggest for maximizing your potential as a team leader. After all, sometimes having a dream is not enough. You have to rally others to executive your vision!
“I could never work with a team member who questioned my decision to shoot the film in black-and-white,” says Hunter Lee Hughes. Luke Judy as The Boy. Photo by Michael Marius Pessah
1. Select the right team. This is more important for INFPs than for any other type, I would argue. We are focused internally through feeling so if someone on the team simply does not agree with our values for the project – or at least respect them – conflict is inevitable. Avoiding these sorts of power struggles is imperative because it takes more energy for INFPs than other types to deal with conflict. So making sure you hire folks who respect your vision and values is the most important way you will set yourself up for success as a team leader. (I would be remiss not to acknowledge that I had the most wonderful cast and creative team on this film that I could possibly imagine. Truly. )
2. Use your intuition to spot potential. One of the best ways to shore up an alliance is to spot someone’s hidden potential and nurture it. INFPs are good at encouraging and nurturing and, as a team leader, that asset can be used for the benefit of the project by bringing out untapped potential in your team members. The rewards for you and the project will be better work and greater loyalty down the line.
3. Lead by example as much as humanly possible. INFPs are not the type that gets a thrill out of barking orders at people. But we are perfectionists by nature so use this to your advantage. Put in the long hours and make sure that your team is impressed with your output and presentations to the group. Even without being told to work harder and longer, you may spark the competitive spirit in them and find that they work a little harder to make sure their work stands up to your own.
4. Accept that not everyone will be as passionate and perfectionistic about the project as you. INFPs are known for being internally motivated and highly perfectionistic. But you have to accept that not everyone on the team is like that. Others may need a different kind of motivation that might not occur naturally to you. Maybe it’s time to take members of your team out to dinner or a beer. Or highlight them on your social media feed so they have some bragging rights. Or make an introduction that might help their career. And of course, some people see their job as just a job and financial motivation is far and away the biggest for them. As INFP leaders, it’s highly likely that you will care more about your project than anyone else. If you start getting angry with others on the team that they don’t feel as passionately about it as you do, that will spell disaster. Instead, remember that you are working with a number of different personality types and it’s perfectly normal that they may need some additional forms of motivation!
5. Compliment with feeling. You are a natural empathizer and know when someone went the extra mile to accomplish something for the project. Don’t be afraid to acknowledge a team member with your feelings behind it. If you are moved by their effort, acknowledge that to the team with feeling! Sometimes, it seems like “feeling” has no place in business. But, after all, people feel great about themselves when their work is received warmly, especially if that warmth is genuine and deeply felt, as is often the case with us INFPs. The only downside to this is sometimes you may get carried away complimenting one person on the team and don’t do the same for another. But keep an eye on this and over time, things will even out. People love to feel valued and it makes their commitment and work on the project better!
In the film, Christos Vasilopoulos plays ‘The Director.’ But how are INFPs at leading projects? Photo by Michael Marius Pessah.
6. Try to articulate the things about your project that are not negotiable. Because we are quiet leaders who are capable of listening well, some on the team may think everything is negotiable with an INFP leader. This would never be assumed with a more traditional CEO-type like an ESTJ and it is not true for an INFP leader either. INFPs are perceivers rather than judgers and can be very open to the stories and experiences of others. This makes it doubly confounding for your team when suddenly they find you extremely inflexible about certain aspects of the work. We know as INFPs that our intrinsic values and feelings will not be crossed without a serious fight, but other personality types may not understand why a certain value of the project is not negotiable while other aspects of the project are open for collaboration. As a leader, you have to be honest with yourself and your team about the areas where you are not flexible….or at least give them subtle clues. If necessary, you may have to remind the team of the core values of the project and stand firm on those. You may get pushback at first, but it’s important that you stand up for yourself and, more importantly, the project!
7. Communicate through email and google documents. INFPs are naturally strong at writing and can be more clear and precise with our observations through writing than in person communication. Take advantage of this by sometimes articulating your positions in email rather than in person. We are quiet leaders. The power of personality is sometimes with another person in the room. However, just because someone else may speak the best or the loudest on an issue does not mean they are correct. Articulating your thoughts through writing them down may bring out the merit in your ideas that might go missing in a meeting.
8. Empower the extroverts on your team as ambassadors. Once you feel secure that you’ve hired a team that understands and appreciates your vision of the project, empower the extroverts as ambassadors for the project. Encourage them in their own communication style (which is probably better than yours anyway!). Strategic alliances are important and to be valued. As INFPs, we often are most comfortable working alone or with a small group of people we already know. So it’s important to empower those who naturally reach out to others to make sure your project has the broad base of support and skill sets it needs.
9. Don’t be afraid of the words….’I have decided.’ As perceivers and empathizers, we find it relatively easy to understand another’s point of view or feelings on a matter, even when we completely disagree. It’s an asset that others feel understood with you. But, after all, you are the leader and know the variables of the project the best so don’t be afraid of the words, “I have decided…” after you’ve had a chance to listen to all the input and make a decision. Chances are, it will be a good one knowing how much you wrestle with any decision!
10. Reserve the most passion and empathy for the project, not any one person. As INFPs, we can easily begin to identify with the feelings and problems of others. This can be helpful as a leader if you need to step in and solve a problem that relates to interpersonal issues. However, let’s be honest, it can also be a distraction. There’s work to be done after all! This is why I advise fellow INFP leaders to put their most passion and empathy towards the project itself rather than any one individual. Think of the project as a human being with whom you empathize. Yes, the people working on the project are all important. But if getting wrapped up in the whirlwind of one person’s drama will distract you from taking care of the project, you need to check yourself.
OK, so are there any other INFP leaders out there with thoughts on effective team building, project management and such? Leave your thoughts in the comments below.
Hunter Lee Hughes wrote and directed the upcoming feature film ‘Guys Reading Poems.’ He founded Fatelink Productions in 2004 and its creative consulting division StoryAtlas in 2013. He is the proud father of a pug – Romeo. If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
Hunter Lee Hughes with Romeo. Photo credit: Obvious selfie.
03 Tuesday Feb 2015
Posted in Production
Tags
american productivity, finding a job in movie production, first job, Guys Reading Poems, how to get my first job in the movie industry, hunter lee hughes, jason fracaro, Patricia Velasquez, production assistant, Sergio Cardenas
For years, you’ve been struggling. Rewriting your script between jobs. Drawing up a business plan. Raising money. Meeting actors. Shotlisting. Rewriting your script again. The list is seemingly endless, but you finally get your first feature film off the ground. You’re on set, feeling proud if somewhat overwhelmed. You look around. Spot a production assistant. You realize that although you’ve paid years worth of dues that your film is someone else’s very first day on the job. And that realization helps you remember why you’re on set in the first place.
In my case, that somebody was Sergio Cardenas. He’s originally from Peru, studied music at Shepherd University. His long-term goals include producing films and also composing music for movies. After the shoot, we caught up and traded notes about our experience.
Hunter: How many film sets had you worked on before Guys Reading Poems?
Sergio: Guys Reading Poems was my first experience…and I was so nervous because I had no idea what I was supposed to do.
Hunter: What was it like to be on set?
Sergio: Really nice. Personally, I really like it a lot. One thing that I enjoyed from Guys Reading Poems was that a lot of people knew each other before, so you were able to see that there was a nice flow, a good working environment, but also creative because you have to do things on the spot sometimes. People were really considerate of other people’s feelings and situations. I mean, sometimes there were problems but people worked to make things go smoothly. Just the fact of being on the set, watching the camera, seeing how the crew moved, the rhythm. One thing that surprised me a lot was that you have to be there for like 12 hours. I was like, “What?!?!” And it started on Sunday until Friday and we had Saturday off. In Peru, my schedule was different. You start on Monday and end on Friday, you start at 8 a.m. and end at 5 p.m. In that way, it was a change.
Hunter: What did you learn from working on a movie set?
Sergio: Many things. For example, the first thing is teamwork. The whole thing is a result of each department – the people who are doing the electricity, the lighting, the set, the camera, the costumes – it’s amazing. All that has to work on time because there are time limits. You have to finish in one day a certain amount of the script. If you go beyond that, you’re done. You understand that being nice with people makes things smoother than being a douchebag, you know? Just be nice with people and communicate. Listen. That’s very important. There is a lot of trust, which is important. I’m getting to work on Guys Reading Poems and none of you know me at all. But the people who don’t know you at all give you the trust to have the keys to their car, give you the money to go to the store or whatever. Coming from where I come from, in South America, it’s a jungle. But in a different way. It’s hard to trust people because people cheat a lot.
Also, I like how efficient Americans are. They are super efficient, but they’re not like the Germans. Efficient but not robotic. Not rigid. They also chill out, but doing their thing good and responsible. I really like that. People come, do their thing, do it good and it’s like, “Wow.”
Hunter: What made you decide to try to work in the movie business?
Sergio: At the beginning, it was kind of unconscious. I was not aware of what I was doing. I always liked movies so I found these posts looking for production assistants for making a film and then I said, “Why not?” Let’s discover the process. To that post, I got contacted through Jason [Fracaro]. He wrote me back and called me and asked me some questions and after all that process he said, “Welcome to the club” and that’s how it started.
Hunter: There are a lot of people out there curious to work in the movie business who haven’t quite made the plunge yet. What would you say to them?
Sergio: Try it. Try. Definitely. We grow in a society that is always telling you, “Don’t do this. Do that,” for whatever the reason but the only way if you will know if something resonates with you is if you really try it. You have to experiment. I wouldn’t tell that person try it only once. What if the first time was a bad experience? In that way, I’m lucky because my first time was a good experience. But what if your first experience was bad? You have to give it a few shots and then depending on how you feel and what you think, you take your own decision.
Hunter: What was your favorite moment on set?
Sergio: Many things. The magic when you would say “action” and the silence would come and the actors would start to take life. It’s a movie. It’s not real life anymore. Watching Patricia [Velasquez] and all of a sudden we hear, “Action” and she’s so intense. The movie is coming alive and it’s so intense. I like it a lot.
Hunter: What’s next for you and how will you take the lessons you learned on Guys Reading Poems and apply it to future jobs?
Sergio: For me, keep doing what I’m doing. Working on sets. Knowing people because this is teamwork, so you can’t do it all by yourself. You need a lot of collaboration. Getting more clear on what types of movies I would like to do and finding a way to make it. I still don’t have – “This is the path.” I have a general idea and I’m working how to achieve all that. That’s the stage I’m in now.
Sergio Cardenas
Talking with Sergio is a good reminder for all of us as filmmakers: if your film is someone’s first job, do you care how they remember it? How it shapes them?
Sergio is a proud freelancer and can be contacted for production work at: universusxxi@gmail.com
—
Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
21 Friday Nov 2014
Posted in Production
Tags
craft services, creativity, Frida Kahlo, how to produce a film, hunter lee hughes, Patricia Velasquez, producing tips, Sammy Kusler, should i make a movie?, spirituality, success at any age, tips for craft services on a film
Sammy Kusler came on board the producing team of “Guys Reading Poems” the first time I pitched the project to him. He’s one of those unforgettable personalities on the set that knows when to say something spiritual to calm you down, but also knows when to just quietly slip a blended mocha frappucino in your hand and walk away. He was much beloved on our production and offers his experience and wisdom to other filmmakers on their journey.
Sammy Kusler with Florenca Perona (costumes) on the set of “Guys Reading Poems.”
Hunter: Sammy, a lot of our readers are prepping their first or second film, whether it’s a short or feature film. “Guys Reading Poems” was your first film working as a co-producer. What general advice can you give to folks starting out?
Sammy: If you have a dream, go for it. I don’t care how old you are, or how broke you are. I don’t care about your excuses –just allow yourself to follow your passion.
Hunter: You have an incredible talent for making people feel good. This is not to be underestimated as an important task on a set where people are working very hard and for long hours. What are some strategies that you had to make the cast and crew feel comfortable?
Sammy: Just basic understanding of human nature. We all want to be loved. We all perform better when we feel like we’re loved. The trick is to know the balance of giving and receiving love and just basically being honest with your emotions. If you have honest emotions, people aren’t afraid that you’re hiding something.
Hunter: What was something about the project that was harder than expected and what was easier than expected?
Co-producer Sammy Kusler with “Guys Reading Poems” stars Gopal Divan, Blake Sheldon and Rex Lee.
Sammy: I definitely expected there to be more competition and more stress between people but I found the team that we had was so giving and caring. There was just this great flow between the actors, the crew, the production team. I didn’t expect it to be so easy and wonderful. What was harder than expected…the grueling hours, very long hours. The hours really took a bigger toll than I expected.
Hunter: Food is a big part of your life. You’re such an incredible chef – you often cook for your friends – and you brought that same sense of caring about the food to craft services on the film. It’s such an important area of the set. Any tips for producing teams on how to keep the cast and crew happy with regards to food?
Sammy: Armies move on their stomachs. That’s it. I think that’s basic. The happy time during “Guys Reading Poems” was around the craft services table. That’s where people went to relieve stress and there was good, healthy stuff to help them relieve it.
Hunter: I hope this doesn’t sound too hokey, but you have a shamanistic thing going, too. I remember standing at the dining room table with Patricia [Velasquez] and you pulled out that original Frida Kahlo pendant. I remember in that moment feeling like you were one of the spiritual guides to the film and Patricia just fell in love with you. Do you think there’s some kind of spirituality that comes with making a film? Or am I off-base?
Sammy: What I’ll call it is a deep connection to spirituality. Everything in my life is connected to some deeper pool of spirituality that we all share. It’s all connected. We’re all connected. That’s what I’ve learned, anyway. And it pours out in all kinds of ways, in all kinds of magic moments. That piece of jewelry is one of the greatest treasures of my life because I was born the minute that Frida Kahlo died so it is to me like a talisman to this intense spirit world that I don’t understand…but I feel it.
An original piece of jewelry by Frida Kahlo.
Hunter: What made you pull it out and show it to Patricia and myself? Since she plays a successful artist in the film, I thought it was just the right thing to do.
Sammy: I didn’t make a decision to do anything at that moment. It was just the next right thing to do. When you listen and you’re connected to the spiritual world like that, things like just happen and magic just appears. [He laughs]. I hope that’s not too corny, but we’re allowed to be corny.
Hunter: Filmmaking is a multi-generational operation. We had some very young people on set from Luke Judy, who is 7, to Blake Sheldon, who was 21 when we started. And Debbie Vandermeulen’s mother showed up to be an extra and I believe she’s 90 or 91. I found that to be very refreshing about our set. Can you talk about that a little?
Sammy: I grew up in a tribal situation, a tribal society and old people were not to be thrown away. They were to be listened to and their stories are what guided our lives. They weren’t some old creepy thing that you bring a present to on Christmas or whatever. They were really our guides. That’s how I feel about older people. And younger people – they are a window to our innocence. Nature combines us and society separates us so it was a natural flow that brought us together on set.
Hunter: I love that you did not allow what some might consider to be “a later start” to deter you from diving into filmmaking. What would you say to others who might want to start at 40, 50, 60, even 70?
Sammy: The cliché is true in this case – just do it! If it comes out, let it happen. Cut through the but’s – ‘but, but, but’ – and the what if’s. If you have a passion, follow it.
Hunter: You’ve seen me in action making a film, warts and all. What could I do better? Or what advice would you give me for “Inside-Out, Outside-In” after observing the process for “Guys Reading Poems”?
Sammy: Don’t overdo it. Delegate.
Hunter: What has been your happiest memory associated with “Guys Reading Poems” so far?
Sammy: My happiest memories are just watching the actors go from being the actor to being the character and that process. Some of them stayed in character the whole time. Some of them dropped the character the minute they walked off the set. And just working with the people on the team – the producers, the director, the crew, the extras. Just the people. It was such a joyous collection.
Sammy Kusler as “Moses” with star Blake Sheldon the last day of our shoot – fun is important on a movie set!
—
Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
16 Sunday Nov 2014
Posted in Production
Tags
bradley bernstein, budgeting for indie features, fast track management, Guys Reading Poems, how do i budget a film, hunter lee hughes, rules for working with child actors, sag ulb contract, sag-aftra, should i shoot on a soundstage, soundstage vs. location, tips for working with child actors, working with child actors
Bradley Bernstein is not just a dear friend and my manager (through his company Fast Track Management). He’s been nominated for a Tony award and won an Olivier award for producing theatre and has a lot of experience producing television programming here in Los Angeles. When I told Bradley about “Guys Reading Poems” and our idea to transform its original concept from a new media piece to a feature film and how we were in over our heads, Bradley GENEROUSLY stepped on board to help – as our line producer. He worked tirelessly and went WAY beyond the call of duty. We couldn’t have done it without him. Here’s what he had to say about his function on our film. Some of his tips will doubtless save you time, money and headaches.
Hunter: So Bradley, you did a fantastic job line producing “Guys Reading Poems.” Thank you. I’m trying now to make sure I learn as much as possible as we prep the second feature. So looking back at “Guys Reading Poems” from a line producing perspective, what would you say was harder than anticipated and what would you say was easier than anticipated?
Bradley: Thank you, Hunter. I would say it was a bit more difficult merging the new media project that was filmed a year earlier with the ultra low budget shoot.* I think because no one really had any experience with that type of merger we just had to figure it out as we went. I think the wardrobe ended up being easier for me than I anticipated. We had a LOT of costumes considering our budget. I mean a lot of costumes. But our wardrobe department really came through and I did not feel the pressure at the end of the day that I thought I was going to feel.
Hunter: We spent a good chunk of our budget on soundstage rental. A lot of low budget indies shoot on location, so this was a big decision for us. From your perspective, was it worth it? Do you think indie films should consider soundstages even if it sounds like sticker shock at first?
A photo of TTS Studios, the soundstage where we shot “Guys Reading Poems”
Bradley: The soundstage approach was the perfect choice for us! In retrospect, I would have negotiated the deal for the stage a bit different but I would not have changed my mind about shooting at one. We saved so much money at the end of the day for our particular film. I think each project has its own needs so there are no specific rules in this regards. I would say keep an open mind.
Hunter: The SAG-AFTRA ULB contract allowed us to work with both union and non-union actors. Did this present any challenges? Any notes for other filmmaking teams here?
Bradley: This did not present any challenges in regards to the actors themselves. You do have to remember there are different types of paperwork to fill out. Educate yourself!!! Make sure you ask your SAG rep lots of questions!! A line producer has a lot of responsibilities and you don’t want to be wasting your time filling out paperwork multiple times because you used the wrong form!!!
Hunter: We had a number of scheduling challenges with GRP, especially with our child actor and all the regulations surrounding that. Do you have any general advice to other filmmakers regarding scheduling? Any advice specifically about scheduling with child actors?
Bradley: OK child actors LOL. This was the first film where I had the opportunity to work with a child actor. I have to say I was a bit nervous. There are a LOT of state rules and union rules! But don’t be scared!!! Everyone I worked with from the child
Luke Judy in “Guys Reading Poems” photo by Michael Marius Pessah
actor’s agent and manager to the on-set teacher were great. They were happy to walk me through the regulations. No one wants to see you violate and no one is there to take advantage. So don’t worry! You just need to understand the rules in advance so you can schedule your shoot appropriately. Kids need breaks on set differently than adults. Also, you need to watch them – make sure they are not getting tired. Yes, there are rules to protect them but you should protect them beyond the rules and account for that in your schedule. We had a 7 year old. He was GREAT. But if I saw him getting tired or a bit antsy I pulled him from set for a 20 minute leg stretch. Know that you will need to do this. It is good for the kid and good for the production. Also – have toys on set (ask the parents what their kid likes)!!!
Hunter: I noticed you switched from one budgeting software to a different program midway through the process. Can you tell us your preferred budgeting software and why? Any tips on using this sort of software?
Bradley: Yeah, this was a time killer. I am not sure I want to name the first software product we used. It was not one I was familiar with. We used it because it was the system my predecessor on the project had used so we felt it would be more efficient to stick with the same program. WRONG! It was buggy! I mean really buggy! Also, stick with what you know. What works for you! Movie Magic works for me!!! I like the program! I understand the program!!! If there is a better one out there, I am happy to take the time to learn it, but right now that is the one that works for me. Here is my tip. There are great online vids that teach you how to use the software. WATCH THEM! Also – Save, Save, Save your changes!!
Hunter: Oftentimes, you served as a liason between the department heads and rest of the producing team. Can you talk a little bit about working with people and the strategies of dealing with the various departments?
Bradley: In my opinion the line producer is the hub for all the department heads. As such, there should be a constant flow of communication between the line producer and all the departments. I like to make sure when in production I am visiting all the departments on a regular basis. Make sure all the heads and their entire staffs are happy. Even more than just being happy, I want to make sure everyone knows they can come to me with problems. I cannot fix something if I don’t know it is broken. There are a LOT of personalities on a film set. Most of the time people don’t know each other before coming to set. So there is potential to make new friends, but there is also the potential to not get along. I am not just running the budget on a show. I am making sure that the wheels and cogs of a set are running smoothly. So if people don’t get along, I need to know and be there to help!
Always stay calm! As a line producer, try never to take sides in disagreements! Listen to what everyone has to say. In the end, you have to decide not was is necessarily good for an individual, but what is good for the entire production. You will not always be popular, but you have a job to do – to make sure the production stays on budget and stays on schedule. Keeping that in mind, you accomplish this goal by continually checking in with your departments and making sure you are informed! You are not only judge, but you are jury and you have to take that very seriously! Most people think the director is the leader on a set but that is not entirely true. The director is the leader of the creative vision and with his/her team runs the set while the camera is rolling, etc. But the director is not running the action off the set and nor should he/she. Part of my job is to keep any/all problems away from the director (as much as I can) so he/she can stay focused on the creative vision of the film.
Hunter: To advise newer line producers, what one line item are they probably underestimating the most and what line item might they be overestimating?
Bradley: To new line producers: You are always underestimating your entire budget! (LOL) but apparently I am supposed to pick a single line item. Geez that is hard. I would say FOOD! Never every skimp on food! Feed the machine and the machine will work! I find that a lot of line producers overestimate how much they are going to pay on cameras/lightening/electrical. That just comes from experience.
Hunter: Some of our readers might be newer to dealing with agents and managers. Any tips on the courtesies or strategies involved in communicating with an actor’s team, especially if they are to be cc’d on information relevant to the line producer?
Bradley: Agents and managers are people too! Don’t be afraid of them! There is really not a lot of interaction between a line producer and a talent rep, to be honest. But on a smaller film, a line producer tends to handle a lot more, so I would not be surprised if you end up having to contact a rep. Just explain who you are and what you need. Most reps are more than happy to take care of you. If the rep asks you something outside of your area, just politely explain that it is not your purview and redirect them to the correct person. Never answer a question that you don’t know the answer to!
Hunter: What has been your happiest memory working on “Guys Reading Poems” so far?
Bradley: My happiest moment was the move in day at our sound stage. I love move in days! All our crew get to meet each other (if they have not already). We get to settle in to our areas (me included). It is like the first day of camp. Finding our way. I love producing film and tv shows. So the first day is the start of the adventure. The last day is the saddest. I want to be a far away from the sad day as possible. I also really enjoy the by myself time during the development process when I first start building a budget. That is my zen time!
Hunter and Bradley talk on a daily basis, occasionally order in pizza from Lucifer’s and are in the process of developing new material for both film and television, including Inside-Out, Outside-In.
*Editor’s note: Some footage was shot and originally registered as a new media project with SAG-AFTRA for “Guys Reading Poems.” We never released that footage because we decided to incorporate it into a larger piece – a feature film. We then obtained permission from SAG-AFTRA to change our contract from New Media to SAG ULB, but with that change caused some practical and paperwork challenges.
—
Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
Inside-Out, Outside-In 