The Zack Arnold Podcast

It’s an understatement to say Hollywood is undergoing major changes right now, but are these circumstances unprecedented? I argue things have changed a lot less than we want to believe over the last few months, the major difference is our level of awareness. And what we’ve become keenly aware of is how badly none of us want to go back to normal.There’s no question the pandemic has caused upheaval and instability, leaving us all wondering if we’ll weather the storm or sink with the ship. As the industry attempts to reopen, we grapple with difficult changes like working from home, safety protocols for returning to set or to the office, and setting boundaries for the health and sanity of ourselves and families.Though the change and uncertainty we’re all experiencing might feel new, it’s surprising how little things in our industry have actually changed over the last several decades, specifically in regards to the working conditions and the insane demands put upon our time.Today’s guest, Oscar nominated editor Carol Littleton, ACE, who has edited such legendary films as E.T., The Big Chill, Silverado, The Accidental Tourist, Grand Canyon, Benny & Joon, and The Manchurian Candidate, has endured many changes in her long career in Hollywood. She worked her way into commercials, to indie films, all the way up the ranks to working with some of the best directors in the industry.She successfully made the transition from film to digital, but it was that change that required a greater focus on her movement habits and healthy lifestyle choices to sustain her career and well-being. These habits have contributed to her vitality for her work and her zest for life that you will hear throughout our conversation.This is the second in our series of archive conversations from the ‘Fitness in Post’ days with hollywood film legends where we clearly see that living a healthy lifestyle, weathering major industry changes, and enjoying a long and successful career are not mutually exclusive (pandemic or otherwise). Learn from the cream of the crop how to be resilient and gracious in the face of adversity, no matter how uncomfortable the circumstances.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:Carol got her first feature film because...she spoke French?How she went from working on small independent features to working with big Hollywood directors like Stephen Spielberg and Lawrence KasdanThe big question: How did she get her break cutting E.T.???What the biggest creative challenge was in making E.T. a successful story.The biggest difference between editing on film to editing on an NLE system (and what has been lost in the process).How Carolapproaches a day of dailies and cuts a scene.How the physicality of working on film kept her in shape and active all day long.The switch to Avid drove her crazy because she was so sedentary!!!The difference between your mental agility and acuity is immense when you are sedentary vs being mobile.Sleep, diet, and exercise are her top priorities to stay sharp and creative.How to fight the fear of thinking that if you stop to take a break from work you won’t get everything done (it’s real, but you can overcome it).Turn your work into your exercise to tax your body just enough that it will free your mind to work at its optimal performance level.KEY TAKEAWAY: Eating healthy will make you resilient and capable of handling the ups and downs of the industry.KEY TAKEAWAY: Eating intentionally, mindfully, and with others is the secret to staying energized throughout the day and keeping morale high.Carol’s passion for long walks has taken her through cities and countries across the globe. Useful Resources Mentioned:Legendary Film Editor Walter Murch On Surviving 50+ Years In PostEditFest 2018 Panel “The Extended Cut: How to Survive and Thrive In Editorial”Our Generous Sponsors:Struggling With Real-Time Remote Collaboration? Meet EvercastAs work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn't work for streaming video. Luckily this problem has now been solved for all of us. If you haven't heard of Evercast, it's time to become acquainted. Because Evercast's real-time remote collaboration technology is CHANGING. THE. GAME.» Click here to be the first to gain early access to the new EvercastP.S. It's (finally) priced for freelancers and indie creatives like us!This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat.Guest Bio:Carol Littleton, A.C.E. is one of Hollywood’s most talented and successful film editors. Her editing career spans 40 years, with more than 40 feature films to her credit. Ms. Littleton began a close collaboration with writer-director Lawrence Kasdan in 1981 with his directorial debut, BODY HEAT. She continued her collaboration with Kasdan on eight more films, including THE BIG CHILL, SILVERADO, GRAND CANYON, and their last collaboration on DARLING COMPANION in 2011. Ms. Littleton has also collaborated with director Jonathan Demme on four films, including, THE MANCHURIAN CANDIDATE.Littleton received an Academy Award nomination in 1982 for Steven Spielberg’s E.T.: THE EXTRATERRESTIAL. Other films she has edited include PLACES IN THE HEART, TUESDAYS WITH MORRIE (Emmy Award for editing) and the restoration of Erich Von Stoheim’s 1926 classic, GREED. In 1994, she edited CHINA MOON, the directorial debut of her husband, noted cinematographer John Bailey, A.S.C.More recently, the 2015 release of A WALK IN THE WOODS was Littleton’s second collaboration with director Ken Kwapis. In 2016, Littleton edited her first collaboration with director Jay Roach on ALL THE WAY, a political film dramatizing the first 11 months of President Lyndon Johnson’s presidency after Kennedy’s assassination in 1963.In 1988, Littleton was elected President of the Editors Guild and served two terms and later in 1998, two terms as Vice President. The Editors Guild honored Ms. Littleton in 2010 with the Fellowship and Service Award. In 2016, the American Cinema Editors honored Ms. Littleton with its Career Achievement Award. Littleton is presently serving on the Board of Governors for AMPAS and on the Board of Directors for ACE.Ms. Littleton has two other passions in life: music and nature. Throughout her college years, she played oboe in various chamber groups and orchestras and still has an abiding love of concert music. Her formative years growing up in rural Oklahoma, gave her an intimate love of nature. Healthy, hands-in-the-dirt gardening and lug-soled hiking are the perfect antidotes for the dark editing room.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

The following is an episode where I provide my articles in audio form so you have the opportunity to walk and listen instead of sit and read if that’s your preference. My hope is that you’ll use this opportunity to get up and step away from your chair for the next 30 minutes and build the habit of moving more whether you’re working, stuck at home, or otherwise.The following is a reading of my article The “Passion Tax” - Why Artists and Creatives Are Exploited, And How We Can Start Saying ‘No’ which can be read at https://optimizeyourself.me/passiontax.

No matter the rung of the ladder you happen to be on in the entertainment industry, making it in Hollywood is no easy feat. And with how our world is evolving post-pandemic, you might think it will be nearly impossible to maintain any sort of work-life balance for our foreseeable future, especially if you’re fortunate enough to reach the top rung of the ladder like today’s guest.If you’ve ever wondered what it takes to not only survive but thrive while working on giant tent pole films like The Avengers series, Captain America: Civil War and Iron Man 3, or a multitude of other blockbusters, then this conversation is going to give you the inside look you’ve been waiting for. Award-winning editor Jeffrey Ford, ACE has made his career working with big name directors like Michael Mann, Joss Whedon, Anthony & Joe Russo, and Joe Johnston, and he does not sugar coat the reality that editing these films is an all-consuming endeavor.In today’s interview with Jeffrey (which was originally recorded a few years ago back in the ‘Fitness In Post’ days), he does share with us his secrets and routines for maintaining his health and family life without succumbing to bad habits and burnout. We dive deep into the methods he uses to stay energetic and creative despite the long hours, specifically maintaining consistent movement throughout his workday. He also talks about the immense importance of keeping his team rested and refreshed so they too can be productive and creative while still meeting the demanding and intense work schedules on huge tentpole films. While the conversation might not be brand new, the topics we discuss are as relevant as ever.If setting boundaries and maintaining some semblance of sanity in our post-pandemic world is a priority for you, after listening I highly recommend following up this episode with my interview with producer Janace Tashjian where we discuss the importance of setting boundaries, advocating for yourself, and asking for help.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:The story of how Jeff began his film career after graduating from USC film school and getting his first job as an apprentice editor with director James Gray and editor Dorian HarrisWhat film school taught him about teamwork and making connections with people in the industry.The struggles he endured through years of unemployment, only working 5 days a month while making films on his own to hone his craft.His humility still leaves him surprised and enthused that people continue to let him cut their films.The extreme focus necessary to edit the film, Public Enemies with Michael Mann, and the demanding schedule and hours he endured.Jeff believes that the longer you sit in front of your screen without moving, the more it inhibits your objectivity and relationship with your audience.Why he makes time for 3 to 4 movement breaks throughout the day.The reason his standing desk has been an enormous benefit to his creativity and mental fortitude.The scheduling fix they use on the Marvel movies to avoid burnout and ensure everyone stays healthy and happy.The importance of having a work environment that provides daylight, space, and amenities to maintain health and well being.Self-assertion and setting boundaries must be built into your routine due to the competitive and intense nature of the business.On Jeff’s team, taking care of yourself is looked upon as a strength rather than a weakness.KEY TAKE AWAY #1: Keep perspective about the job by understanding that your family is your most important support system to keep you going.KEY TAKE AWAY #2: Staying in shape physically is directly connected to your mental well being which is connected to your success.KEY TAKE AWAY #3: Divide the workload between more people working shorter hours to stay creative and productive. Useful Resources Mentioned:The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace TashjianMaking It In Hollywood as a “Creative” (What They Don’t Teach You In Film School) | with Norman HollynIs Taking Free Work Really Worth It? | with Alan Bell, ACEOur Generous Sponsors:This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat.Guest Bio:JEFFREY FORD, A.C.E. (Editor) was born in Novato, California. He attended high school in Troutdale, Oregon and graduated from the University of Southern California School of Cinema-Television in Los Angeles with a degree in Cinema-Television Production.He began his professional filmmaking career in 1994, working as an editorial assistant on James Gray’s debut feature film, “Little Odessa.” He went on to work as an assistant editor on several feature films, including the Academy Award®-nominated “As Good as It Gets” for editor Richard Marks and director James L. Brooks.Ford’s first solo feature as editor was “The Yards” for director James Gray, which premiered in competition at the Cannes Film Festival in 2000. He edited “Teddy Bears’ Picnic” for Harry Shearer, “One Hour Photo” for Mark Romanek, “Hide and Seek” for John Polson, “The Family Stone” for Thomas Bezucha (his work receiving an A.C.E. Eddie nomination) and “Street Kings” for David Ayer. He also edited “Shattered Glass” and “Breach” for director Billy Ray. With Paul Rubell he co-edited "Pubic Enemies" for director Michael Mann. In 2011 he teamed with Thomas Bezucha again for “Monte Carlo."At Marvel Studios, Ford co-edited “Captain America: The First Avenger" (with Robert Dalva) for director Joe Johnston, "Iron Man Three” (with Peter Elliot) for Shane Black and “Marvel’s The Avengers" and "Avengers: Age of Ultron” (both with Lisa Lassek) for director Joss Whedon.“Captain America: Civil War” is Ford’s second film for Joe and Anthony Russo. He also co-edited (with Matthew Schmidt) the Russo's first Marvel Studios feature “Captain America: The Winter Soldier.”He lives in Los Angeles with his wife and two sons.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Today’s interview is a little bit different than you might be used to where I’d like to introduce you to the newest sponsor of the Optimize Yourself podcast: Evercast. If you’re a content creator or someone who works in the entertainment industry and you’ve never heard of Evercast, you need to because this technology has the potential to change the way you work and live in our post-pandemic reality.In the following conversation I chat with Roger Barton and Brad Thomas, the co-founders of Evercast. As Brad & Roger will talk about in our interview, Evercast is essentially the “Zoom for creatives,” a live streaming & video conferencing platform combined with blink-of-an-eye low latency that empowers you to collaborate from your workstation to anyone’s device worldwide. You can stream anything to anyone anywhere, but unlike Zoom, when it comes to live streaming video content, it actually works!The first time I was introduced to Evercast all I could think to myself was GAME. CHANGER.I cannot stress this enough, Evercast is changing the way we collaborate as creative professionals, whether you’re an editor like me or a director, producer, cinematographer, location scout, or just about any other job in the filmmaking industry. If you value your craft, your well-being, and spending quality time with the ones you love, Evercast now makes that possible for you and me.» Click here for a live demo to see Evercast in actionShow Credits:This episode was edited by Chris Orsi, and the show notes were prepared by Zack Arnold and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

For some reason there seems to be this fallacy in Hollywood that someone has to “give you your big break” in order to make it in the industry, and in the meantime you’re just waiting for your big break to appear. The idea that you have to be in the right place at the right time, or worst of all, that you just need to have a lot of “luck” to make your dreams a reality (and you all know how I feel about the “L word”) must be a myth, right?Today’s guest is here to debunk that myth that success is about waiting for opportunity but instead all about making sure no one can outwork you, making sure you are ready for opportunities when they become available, and most importantly never giving someone the opportunity to tell you ‘No.’James Wilcox is an African-American award-winning editor who’s edited such shows as Dark Angel, My Wife and Kids, Everybody Loves Chris, CSI Miami, Hawaii 5-0, Roots, Genius, and he’s recently completed Ron Howard’s new film Hillbilly Elegy, to literally name just a few. (Seriously, look up his IMDb page). What’s so fascinating about James’ path is that he’s made numerous transitions in his career including cutting news, comedy, drama, historical fiction, and feature films. In addition to such a wide variety of experience, James also sees himself as a pioneer for black editors and talks about the importance of providing mentorship to other people of color.In today’s conversation we cover topics like:How James prepares himself to be ready for opportunities when they are offeredWhy he sees himself as a pioneer for black editors and the importance of providing mentorship to other people of colorThe delicate balance of working hard and playing hardAnd the many stories of how he forged his varied and successful career path including how he became Ron Howard’s editorIf you enjoyed my episode with Monty DeGraff, you’re going to love this one. James is talented, funny, and chock full of stories that give you an inside look at how to not only build a successful and inspiring career but also how to mentor others while leaving time and energy for your health and well-being. In short, James has mastered the balance of both working hard and playing hard.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere’s What You’ll Learn:Early on James discovered that shortcuts didn’t work for him and that to be successful, “no one would out work him”A “double-edged sword”: How his relentless work ethic has been both a gift and a curseThe story of how James went from wanting to be a doctor, then a baseball player, and finally, to becoming an editor.James got his first opportunity in the News business.The three skills needed to be a solid news editor: Speed. Creativity. Accuracy. These skills helped him down the road.Why James studied acting for 3 and half years when he moved to Los Angeles and how that was part of his journey to scripted television editing and directing.His mantra: “Don’t give anyone a reason to tell you no.”KEY TAKEAWAY: Always be ready and prepared for the next opportunity so when it presents itself you can seize it.His dad’s advice: If you’re thorough you can’t be denied.KEY TAKEAWAY: We all have to ask ourselves how do we get better at fostering diversity and opportunity for people of color in the industry?James believes there is a rapid awakening right now on a global level and the George Floyd murder has inspired activism and change.His passion for mentoring and supporting people of color is a big part of how he hires his assistant editors.One of the key skills his last assistant editor had that he values and appreciates.The unbelievable story of James getting to work with Ron Howard on the Emmy nominated series Genius and then getting to work on his new movie, Hillbilly Elegy.KEY TAKEAWAY: Don’t always expect your payoff to come from the thing you are investing in.What the Marshmallow experiment teaches us about patience relative to success.James’ advice to POC looking to advance their careers and make it in Hollywood. Useful Resources Mentioned:Recognizing, Mentoring, and Promoting Diversity In Hollywood | with Monty DeGraff, ACEBreaking Into (and Making It) In the Industry as People of Color | with Mirra Watkins, Ariel Brown, and Isaiah CaryStanford Marshmallow ExperimentBreaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 1)Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2)Our Generous Sponsors:Special thanks to our sponsor Evercast for making today’s interview possible. To learn more about how to collaborate remotely without missing a frame, and to get your real-time demo of Evercast in action, visit OptimizeYourself.me/evercastGuest Bio: James D. Wilcox, ACE began his editing career in Atlanta, Georgia in 1982. An opportunity with CBS NEWS in Los Angeles moved James to California where he covered events that ranged from Pope John Paul’s U.S. Tour and the 1984 Olympics to the Reagan-Gorbachev Summit. During his tenure at CBS, James produced and edited the Emmy Award-Winning documentary series, “Lip Sync” which exposed the 1991 Milli-Vanilli Grammy scandal.By 1999, James had transitioned into scripted television with a wide variety of shows including: Showtime’s “Soul Food”, FOX’s “Dark Angel”, Comedy Central’s “Reno 911!”, UPN’s “Everybody Hates Chris”, CBS’s “CSI: Miami,” “Hawaii Five-0” and ABC’s “My Wife and Kids” where he began his directing career.In 2016, Wilcox teamed up with Director Mario Van Peebles on “Roots” which was nominated for an Emmy in Outstanding Limited Series. Following the nomination, Wilcox collaborated with director Ron Howard on Nat Geo’s “Genius” which gained two more Emmy nominations for Outstanding Limited-Series in 2017 and 2018. That January, James took home the ACE Eddie Award for “Best Edited Miniseries or Motion Picture for Television” for his work on “Genius: Einstein.”More recent work by James includes the Netflix series “Raising Dion” starring Michael B. Jordan, as well as the pilot of “Filthy Rich” directed by Tate Taylor (“The Help”, “Ma”) which premieres this year on FOX Television. Currently, James is working again with Ron Howard and Imagine Entertainment, cutting Netflix’s “Hillbilly Elegy” (due for release in 2020).James is an active member of the Motion Picture Editors Guild (MPEG), the Academy of Television Arts & Sciences Picture Editors Peer Group, American Cinema Editors, and The Directors Guild ofAmerica.On his craft, James has said, “I strive to be the best and tell the story I’d pay to see. When I edit, I won’t settle for just good enough.”Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Have you ever felt like you didn’t fit in?Have you ever struggled to find role models that looked like you and had similar life experiences?If you’re a person of color in Hollywood (specifically post-production), the likelihood is extremely high you know these issues all too well...like a likelihood of roughly 99% (as I discussed in a previous episode with seasoned editor and mentor Monty Degraff).Furthermore, if you are a POC who’s a college student or recent grad, you might be concerned about how the color of your skin could affect the chances of you succeeding in the industry (and if it’s even worth trying), no?In today’s conversation, I discuss these issues and more with two recent grads and one senior from Temple University in Philadelphia, all of whom are black. Ariel Brown is a senior in the Film and Media Arts Program. Mirra Watkins graduated from Temple 3 years ago and has since moved to Los Angeles and is working as an AE and Editor in unscripted television and digital media. And last but not least, Isaiah Carey is a 2018 Temple graduate now working in the video production world as a cameraman and editor in Philadelphia.All three of these amazing, talented, intelligent, and hard-working individuals have navigated their way as minorities in a white-dominant industry and have learned some valuable lessons along the way that they have been courageous enough to share with you. Each of them have adopted the unique perspective to turn their struggles into their greatest assets. And each of them has learned that the adversity they face has made them stronger and more capable in their jobs and in life, and ultimately nothing will deter them from achieving their dreams.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:Ariel’s deep desire to pursue her passion of the arts through filmmaking.Isaiah's love of learning and how that led him into post production.How Mirra began building her editing skills as a kid who loved to read.Why Mirra hopes to one day be the next Shonda Rhimes and her passion to tell “real s@#! to people” through films and stories.KEY TAKE AWAY: Being specific and vocal about your desires and goals will open up the right doors and opportunities to get you where you want to go.Isaiah’s dream is to be in a Post Production finishing facility working as a colorist and being part of a team environment.Ariel’s favorite stories show that anyone can do anything they can put their minds to and those are the stories she wants to tell.Mirra’s experience in high school trying to get into the band and the difficulty she had being accepted in a mostly white school.What it’s like to fight for every opportunity including the classes you want to take despite being qualified in every way.Even in Philadelphia at Temple University, the number of black students in post production is less than 1%.Isaiah’s experience with being treated unfairly on his college thesis project and how he handled it.KEY TAKE AWAY: Persistence and perseverance will help you find the right people and places to get the opportunities you want.The problem of gentrification for minorities negatively and the lack of awareness among whites.Ariel is the first in her family to go to college and graduate and she will not let the color of her skin stand in the way of achieving her dreams.KEY TAKE AWAY: Don’t be afraid to sell yourself and use your stories of adversity to demonstrate your value.Mirra is not looking for a handout based on her race and wants to be hired for her skills, attitude, and love of stories.Advice for hiring managers: Take a shot on those people with lesser experience. They often turn out to be the best.Advice for POC dealing with racism: Just keep going and don’t let it dictate the trajectory of your life. Useful Resources Mentioned:Recognizing, Mentoring, and Promoting Diversity In Hollywood | with Monty DeGraff, ACEWant to Be Part of the Solution but Don’t Know How? Start with Listening.Making It In Hollywood as a “Creative” (What They Don’t Teach You In Film School) | with Norman Hollyn[FiP] Ep114: What Every College Student (and Recent Grad) Needs to Know About ‘Making It’ In Hollywood, pt1[FiP] Ep115: What Every College Student (and Recent Grad) Needs to Know About ‘Making It’ In Hollywood, pt2Guest Bios:Mirra WatkinsI wear many hats, depending on the day. I am a Video Editor, an Assistant Editor, a Screenwriter, a Poet, a Podcaster, and a Mental Health Advocate. What I identify most as are a storyteller and an escapist.Since a child, I’ve always had an affinity for storytelling. Growing up, the library and bookstore was my second home. Such a big love for reading developed my imagination in ways I had no clue would be a significant asset in my writing, filmmaking, and editing. As a teen, my love for film grew out of the desire of wanting to be an actress. I used both novels and films to escape from a depressing childhood, never realizing the connection between the two. An intermediate course in video editing at Community College of Philadelphia was where the two loves collided. Soon after, I continued my film education at Temple University and moved to Los Angeles to pursue my storytelling dreams.I’ve been fortunate enough to work as an Editor and Assistant Editor in an array of mediums: documentary, commercial, corporate, digital media, and unscripted. I plan to switch to narratives to achieve my dream of editing, writing, and directing stories that help people escape from their harsh realities and help others heal from their heartaches and traumas. Creating and collaborating on real stories, much like my favorite films of 2019 (The Farewell, Honey Boy, and The Last Black Man in San Francisco), is on my horizon.Ariel BrownAriel Brown is a student of Temple University Class of 2021. There she is studying to receive her Bachelor degree in Film and Media Arts with a concentration in post production. While finishing her degree she is also working as a freelance filmmaker and animator.Ariel's long term goal is to create better accessibility to film and other arts for young, aspiring artists. She believes that art is an amazing outlet for people to flex their creative abilities and that everyone deserves a chance to gain experience in their preferred art form.In her current endeavors towards this goal, she leads a student-run production organization on her campus, as President. The organization aims to provide more on set and networking opportunities among students throughout the university through a shared love of film.Isaiah CaryHi everyone, my name is Isaiah Cary I am a 24 year old bi-racial male currently working in the film industry in the Greater Philadelphia Area. I graduated from Temple University in 2018 with a degree in Film and Media Arts with a concentration in Post Production. I would like to say that I entered the real film world in August of 2017 with my internship, interning at a production/post production house in Philadelphia. I was lucky enough to have that internship turn into my job/career and here I am now. Working on different productions every week for commercials, ads, tv shows, and many more.In my free time I love to ski and snowboard and that is what got me into filming. Filming myself and my friends at the mountains having fun and coming home and editing when I was younger was the best thing I could think of, so why not go to school for it! Having gone through film school and entering the "adult" world of the film industry has taught me life lessons that I will never forget.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

"It’s important not only to empower ourselves, but to empower each other. We are 200% stronger together than we are as an individual in our common endeavors.”Imagine a Post Department where you feel a sense of community and mutual respect.Imagine a Post Department where you are consulted about schedule changes and asked for your input in solving problems.Imagine a Post Producer who allows for flexibility to balance both work and life responsibilities.Imagine a Post Producer who believes you should get paid for every hour you work (yes...even nights and weekends!) and wants you to go home when your work is complete…even if it’s before your twelve hours are up.This is the world that Producer Janace Tashjian has created one show after another during her 30+ year career in the film and television industry, having worked in the past on big name movies such as Avatar and TV shows like Entourage, Shooter, From the Earth to the Moon, Dark Angel, and Ballers (to name just a few).I’ve spent multiple seasons editing shows alongside Janace, so I can say first hand that she runs her departments in a way that allows for everyone to do their best work while also having a life. In fact, every person I meet who has worked with Janace says the same thing: BEST show I have ever worked on.So it’s no surprise that when Janace read my article, Dear Hollywood: We Don’t Want to “Go Back to Normal”she struggled to relate to some of the complaints about long hours, people being taken advantage of, and having no work life balance. In today’s conversation we discuss these issues as well as the ways that Janace creates the positive working environments that so many editors appreciate and love.I hope what you hear today provides a new perspective and a refreshing look at what is possible when we come together and work as a team.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:The limiting beliefs we work up in our mind are sometimes inflated to what’s happening in the real world.Becoming your own self advocate is necessary to setting boundaries and for finding the people willing to listen and want to help.The way to release the pressure of saying yes and the fear of being the difficult one to ensure that everyone’s needs are being met and proper expectations are set from the start.The importance of planning contingencies in creating schedules so people aren’t getting burned out.KEY TAKEAWAY: The quality of the questions you ask determines the quality of your life.The core question Janace asks at the start of each project and throughout the process: “What do I need to do to make sure that everyone on my team has what they need to succeed?"Why she sees the Post department (Post coordinator, Post supervisor, PA) and the editors and their assistants as one entity and builds the team to work as one cohesive unit.She expects that everyone on the team supports each other and works towards one common goal to make the best product possible.Her thoughts on the 60 hour work week on call editor classificationShe believes that there should be communication about the work that is being asked and that flexibility is important for both sides so that life and work demands are met for everyone involved.When it comes to tight deadlines and working overtime, Janace’s motto is: “How can we help each other figure this situation out?”The importance of recognizing and addressing self talk that can be inhibiting your ability to set boundaries.Asking for help is not a sign of personal failure.We now have the opportunity to share concerns and find interventions that will benefit the whole without compromising the results Useful Resources Mentioned:Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working.Parenting In a Post-Pandemic Hollywood | with Natalie Boschan, Bari Winter, Yvette Amirian ACE, and Monica DanielOn Signing COVID Waivers, Kit Rental Fees, and Working Humane Hours | with Cathy Repola, MPEG National Executive DirectorDear Hollywood: It’s Time For An Intervention About The Hours We Work [Change.org Petition Inside]Guest Bio:Janace Tashjian is a producer and production manager, known for Avatar (2009), Ballers (2016 - (2018), Shooter (2017) - (2018), 2 Guns(2013) and From the Earth to the Moon (1998).Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

» Read & Share the full article HEREWhen I published my article Dear Hollywood: We Don’t Want to ‘Go Back to Normal.’ Normal Wasn’t Working I was absolutely floored by the response as I watched it spread like wildfire across social media in all sectors of the entertainment industry. I honestly never thought this message would ever reach beyond my tiny little (windowless) corner of the post-production world.From 2nd assistant directors in Mexico City to makeup artists in North Carolina to corporate video editors in Germany to accountants in Japan, not to mention countless directors, producers, and even actors (Skinny Pete, yo!), I’ve heard from people on all six continents. From marketing to features to advertising to television to documentary, above-the-line and below-the-line, union and non-union alike - the idea of nobody wanting to go back to ’Normal’ clearly struck a nerve.Once again, Hollywood...sorry not sorry.As I said in my interview with Cathy Repola, National Executive Director of the Motion Picture Editors Guild (Local #700):This is not just a union issue. This is a human issue.We all seem to be in universal agreement the way we did things pre-pandemic in the entertainment industry wasn’t working. Since sharing my own list of what I believed wasn’t working, I’ve received hundreds of messages and included many of your personal stories about what hasn’t been working in your lives. (Here’s the full list of the personal stories people have shared with me anonymously).There are countless important issues unique to people’s circumstances that clearly need to be addressed. But regardless of age, gender, race, ethnicity, sexual orientation, socioeconomic status or otherwise, there is one fundamental core issue driving the vast majority of the problems in the entertainment industry that needs to be addressed now: The hours we work.Time is the ultimate equalizer. We all have the same 24 hours a day and 7 days per week. And we all universally agree we don’t have enough time to do our jobs properly without sacrificing our relationships, our health, or our sanity in the process (not to mention those who have literally given their lives for the sake of entertainment).Hollywood, it’s time for a much-needed (and overdue) intervention.As I stated in my previous article, for the first time in cinema history we’re no longer “building the plane while flying it,” the plane is in the hangar and we have the opportunity to make significant upgrades. And where we need to start is rewiring the expectations of how many hours per week it really takes to create entertainment (Reminder: We’re not curing cancer).I believe that not only CAN we find a solution to make 45 hours the new standard workweek in Hollywood, but also because of Covid-19 we no longer have any choice; we MUST make 45 hours the new standard.Both our livelihoods and our lives literally depend on it.Want your voice to be heard?Click here to sign the Change.org petition to support a 45-hr week in Hollywood» Read & Share the full article HERE

In case you missed it, my recent article Dear Hollywood: We Don’t Want to ‘Go Back to Normal.’ Normal Wasn’t Working ignited a firestorm of conversation, social media messages, and a barrage of emails (I promise I’m reading all of them!!!) that ultimately became the impetus for this candid conversation with MPEG National Executive Director Cathy Repola. Since 2016, Cathy has been one of Hollywood’s leading voices on labor, working to negotiate and enforce contracts that protect the wages, benefits, and livelihoods of more than 8,000 workers in the post-production industry – including my own.Like so many other organizations, Cathy has been working tirelessly with studio executives and union members alike to come up with a plan to get Hollywood back to work – SAFELY. But how can we do that without putting ourselves at risk? If you haven’t yet read my article (stop this recording right now and go read it!) here are the Cliffs Notes:We’re tired of long hours and unrealistic deadlines that keep us from seeing our families, raising our kids and enjoying our lives. We want to seize this opportunity while Hollywood is shut down to shift the paradigm and restructure our work-life balance. Instead of “going back to normal,” we need to define a new version of normal that works for all of us.Namely, we need to abolish the “standard” 60-hr weekNobody should EVER have to sign liability waivers to return to workWe require compensation for our equipment if we’re asked/required to work from home.BONUS: Don’t you dare ask me to provide child care if I have to work from home.Cathy and I discuss each of these topics in-depth in this interview as well as also fielding live questions from the Facebook community that attended this live Q&A.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere’s What You’ll Learn:American Cinema Editors, Blue Collar Post Collective, Motion Picture Editor’s Guild and other groups have been fighting for these rights for years and now are finally starting to come together to continue this conversation.Waivers 101: What do they mean? Do you have to sign them to report to work? (Bottom line: Don’t sign anything without giving it to the Guild to read first)How absurd it is that we are fighting for a 10 hour work day!!! KEY TAKE AWAY: More hours do not equal better hours.There is no mandate for the 60-hour workweek for an on-call Union editor. The hours came from the number of hours that the studios were contributing to the pension and health plan.How to create a better balance of work hours with more flexibility to the employee to get the work done on their schedule.Employers and producers are abusing their power if they ask you to trade a weekday off work for an unpaid Saturday or Sunday.KEY TAKEAWAY: We need to summon the feeling of dread we have about going back to the way it used to be and use it as a catalyst to change.Don’t let employers tell you that they’re doing you a favor by allowing you to work from home. The reverse is true.Burnout comes from a lack of setting proper expectations.What the timetable is for going back to work based on regulations and new COVID guidelines.The way to set boundaries for yourself without being perceived as “the difficult one.”Guidelines for kit rentals and reimbursements for working from home and the timeline for when these will come out.KEY TAKEAWAY: Cathy says, “If we want this business to thrive, we need to start taking care of each other”.The value of the work is more important than micromanaging our time and we need to destroy the culture of the “theatre of work”.The idea that today’s miracle equals tomorrow’s expectation needs to be revised with post-pandemic expectations.Can the editor’s guild have a protected cut the same way the director’s guild does?How we can access the box rental guidelines when the Union releases them.Advice to leave with: We can solve these problems as a larger community. Be involved. Don’t fight this fight alone! Useful Resources Mentioned:Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working.Dear Hollywood: We Create Entertainment For a Living. We’re Not Curing Cancer.Dear Hollywood: We’re Not “Lucky to Be Here”…You’re Lucky to Have UsOur Generous Sponsors:This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat.Guest Bio:Cathy Repola has served the Motion Picture Editors Guild in several top leadership roles since 1992. Since 2016, she has been the Guild’s National Executive Director, where she is one of Hollywood’s leading voices on labor. Repola helps negotiate contracts and ensure enforcement that protect the wages and benefits of more than 8,000 workers in the post-production industry, including picture and sound editors, re-recording mixers, Foley artists, technical directors and story analysts. The Guild also leads the way in organizing labor within post-production.Motion Picture Editors GuildCineMontage: Journal of the MPEGShow Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

With work in the entertainment industry slowly beginning to trickle in and productions ramping up over the coming weeks and months, you’d think we could all just “go back to normal,” right?WRONG.The new version of post-pandemic work is going to be anything but normal (and frankly Normal. Wasn’t. Working), and for one very specific group, this is uncharted (and terrifying) territory: Parents.In the latest ‘Optimizer’ community Q&A, our community welcomes four hardworking moms in various stages of their careers in the entertainment industry. Editor Yvette Amirian (ACE), Editor Natalie Boschan, Editor/AE Monica Daniel, and Assistant Editor Bari Winter have all been simultaneously juggling busy careers while also doing their best to raise children during a global pandemic.We talk about how we can balance the vast needs of Hollywood production while still doing our best to be present parents. We discuss tips and strategies for handling this delicate balancing act. My guests also share their fears and hopes about navigating pre-pandemic expectations in a post-pandemic working world.In this very candid conversation, we cover many topics including:How can we balance the vast needs of Hollywood production and post-production when we’re still homeschooling our kids, daycare isn’t open, or we can’t afford a nanny anymore?Will working from home mean that we NEVER get any time away from the office to be a parent because of endless emails and texts where people need things 24/7?Will people be less likely to hire me again if I’m a parent working from home?Whether you are a parent or not, this conversation will address the issues of managing and sustainingWant to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere’s What You’ll Learn:“Real-life” insight into balancing parenting and work obligations when it feels impossibleHow to tackle the question of getting a nanny during a pandemic and the importance of separating work and child care duties when working from homeThe best ways to make sure your kids are actively engaged in learning while you work from home (so that they don’t get left behind academically)How to keep yourself healthy and avoid burnout from trying to be “supermom” (or dad)Why normal wasn’t working for parents and how we will literally kill ourselves if we try to resume the status quoThe real reasons moms tend to put themselves last and feel obligated to take care of everyone else firstWhat the “theatre of work” is and how we need to teach producers to let us manage our own timeHow to set boundaries when working from home by communicating clearly and confidentlyProductivity tips on creating effective workflows so everyone is on the same page with boundaries and communicationThe different standards between being a mom in the workplace versus being a dad (and how moms have to navigate that)FACT: It’s harder for moms to get hired. When women reveal they have children, are they being explicitly discriminated against?Managing the dynamics of juggling family activities, finances, career advancement, and job obligationsWhy “time is the great equalizer” (everyone has the same amount of it) and how to use that to your advantage when setting expectationsDetailed strategies for dealing with guilt about missing bedtimes or activitiesHow to communicate with your kids the importance of taking time for yourselfThe valuable mindset shift of “work/life presence” vs. “work/life balance” Useful Resources Mentioned:How to Provide Value and Get Paid What You’re Worth with Monica DanielFitness in Post Q&A with Natalie Boschan: Career Vs. FamilyDear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working.Guest Bios:NATALIE BOSCHANNatalie is an editor working in scripted television. She started her career editing short form content including trailers, DVD content and marketing videos for major motion picture releases. She made the move to scripted television as an assistant editor on season 7 of Burn Notice. After working on several series as an AE including Once Upon A Time, Empire, Shooter and Punisher she made the leap to Editor on season 2 of Shooter. Since then her editing credits have included Stargirl, LA’s Finest and Star.In between all that editing, Natalie has found time to become a mom to a lovely 2 year old boy. She’s done her best to balance family and work, but there are always challenges and she hopes to be apart of the solution to help parents working in post overcome some of those challenges.BARI WINTERBari Winter is an accomplished television assistant editor. She started in news, sports and reality tv eventually moving into scripted television. Her credits include The Middle (ABC), Bluff City Law (ABC), and most recently season 2 of Doom Patrol (HBO Max). Bari is currently taking Zack Arnold’s Focus Yourself course with the goal of moving into the editors chair in the near future.Bari has a BFA from the School of Visual Arts in New York City.YVETTE AMIRIANYvette M. Amirian, ACE is an award-nominated film and television editor. After graduating from USC’s School of Cinema-Television, she built a successful career, and has been transitioning seamlessly between cutting scripted and documentary content for the better part of two decades.In 2011, she and her team received an Eddie Award nomination from the American Cinema Editors for their work on Animal Planet’s Whale Wars. In 2017, she edited and produced John Singleton’s L.A. Burning: The Riots 25 Years Later for A&E, which was nominated for a Primetime Emmy (Outstanding Documentary Special).Yvette is a proud member of the Motion Picture Editor’s Guild, the Academy of TV Arts & Sciences, and the American Cinema Editors (ACE). She also teaches editing at USC’s School of Cinematic Arts, and loves educating future generations of aspiring filmmakers.Yvette lives in Los Angeles with her husband and two sons.MONICA DANIELMonica Daniel has edited various genres of television that have been broadcast worldwide over the last decade. She is known for her “sh*tting sparkles” slogan from her award show red carpet work. She recently transitioned from editing reality television into a high level scripted network show, and our conversation today breaks down her journey and how you can walk away with actionable steps to make the same transition, regardless of your situation.Show Credits:This episode was edited by Chris Orsi, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).