The Zack Arnold Podcast

Dear Hollywood, I have something I desperately need to share with you. You might find it surprising coming from a 20-year veteran who owes his livelihood to you. But it needs to be said. I apologize if this upsets you (actually….sorry not sorry).Your shows are not worth dying for.This is not the first time I have expressed my frustration with the insane way in which we approach our livelihoods in this industry – the ridiculously long hours, the chronic sleep deprivation, the complete and utter lack of work-life balance, and the families, marriages, and lives that are destroyed (or taken way too early) by the perpetual content machine that is/was Hollywood.In fact, I’ve spent the last six years screaming from the rooftops into any megaphone I can find that we create entertainment for a living…we’re not curing cancer!!!Sure, we all agree that things could be better in the entertainment industry, and we’re all doing our best to make small changes here and there, but up until a few months ago we were all just “too busy” to really examine what fundamental changes must be made from the ground up to better protect the livelihood of the craftspeople who sacrifice their health, their personal lives, and their sanity all for the noble pursuit of creating more content.Then Covid-19 came along and changed the game.Since the pandemic began the entertainment industry worldwide has watched from the sidelines crippled, lifeless, desperately scrambling to figure out what protocols to put in place so we can go back to work while simultaneously protecting workers from becoming infected. Whether it’s the Cinematographer’s Guild, the Editor’s Guild, the AMPTP, the AFL-CIO, the DGA, SAG-AFTRA, and IATSE, or OSHA, (and if you live in Canada there are resources here, here, here, and here), every organization globally is doing its absolute best to figure out what it will take for us to safely resume production as quickly as possible.But in our desperate pursuit to overcome the immense challenge of working amidst a global pandemic so we can “get back to normal,” we’re overlooking the equally important (and blatantly obvious) issue that has yet to be addressed:NORMAL. WASN’T. WORKING.The Fallacy of ‘Building the Plane While Flying It’For decades Hollywood has fallen prey to the fallacy of ‘building the plane while flying it,’ an idiom popularized by Silicon Valley born from ‘iterative’ software development whereby you ship your product as early as possible, fix it, ship it again, fix it again, and so on, as opposed to tinkering and fixing for years privately with a controlled team before shipping to the public.The industry has been aware for decades that the demanding hours and harsh working conditions are less than ideal for everyone involved all the way from the PA getting coffee up to the mega-directors and Oscar-winning stars, not to mention the “boots on the ground” craftspeople who spend 16-20+ hours per day on set (not including their horrendous commutes), or the post-production professionals sleeping in their edit bays to meet insane deadlines and impossible delivery schedules. But there’s just too much to do with too little time to stop the machine and really fix it.While I do believe the industry has made some good-faith efforts to implement incremental changes to better protect craftspeople, there has been no transformative change.The argument for this was simple: The show must go on!Guess what? For the first time in cinema history, the show is not going on.The plane is no longer barreling through the air at 575mph such that we can’t make substantial repairs and upgrades. We can no longer make the excuse that there isn’t time or the budget to change the working conditions and demands of our industry since deadlines and release dates have already been set and must be met.For the first time in cinema history, the plane is stuck in the hangar.For the first time in cinema history, we have the opportunity to build a brand new plane.But in order to fix something, we first have to be willing to recognize what wasn’t working. And this is just the tip of the iceberg.A standard (STANDARD!!!) contract expecting a 60 hour work week before any discussion of overtime was NOT. WORKING.Eating lunches at our desks because it’s socially unacceptable to take breaks wasn’t working.The cultural pressure to show up to work every single day, even when you were sick and could make others sick, definitely wasn’t working.Parents terrified that having kids will make them less desirable as a potential hire because they “have outside responsibilities” and they aren’t able to “give everything to the job” wasn’t working.Missing out on the moments that truly matter (birthdays, anniversaries, dinners with friends, or family time) for the sake of “one more output” wasn’t working.Thinking that “just one more setup” is a good enough excuse to shoot well into the night forcing crewmembers to either stay in a hotel between shifts or risk their lives driving home drowsy (i.e. cognitively drunk) wasn’t working.Being bullied into putting unpaid OT on your timecard because “there just isn’t a budget” wasn’t working.Exchanging an “on-call” workday where you didn’t need to come in with a weekend where you are needed – without being paid OT – wasn’t working.The perpetual lie that “working from home” was not a secure or sustainable workflow wasn’t working.Consistently putting our kids to be via Facetime wasn’t working.Looking down upon or shaming someone willing to set boundaries between their personal and work lives wasn’t working.The prevailing notion that how many hours you work defines your productivity and effectiveness – not what you are able to accomplish during those hours – wasn’t working.Assuming we prefer windowless rooms because “editors are weird like that” and depriving us of the most basic human need of sunlight wasn’t working.Wearing your ‘sleep deprivation badge of honor’ and bragging about how many nights you’ve slept on your couch to meet deadlines wasn’t working.The assumption that you can process 4-6 hours of dailies per day and still “keep up to camera,” plus deliver editor’s cuts with detailed sound design and music beds with only 2 days after production wraps your episode wasn’t working.The argument that transitioning from a successful, multi-season show to season 1 of a new show requires a substantial pay cut because pilots and season 1 shows have lower budgets was not working.Not giving the assistants the ability to negotiate a rate based on their skills or experience and capping them at scale no matter what was not working.The vast majority of high profile reality & unscripted shows being non-union and providing zero protection for their cast & crew wasn’t working.The toxic work culture that eventually led to the #MeToo movement was not working.The belief that “hiring the most qualified candidate” was enough justification to overlook the lack of diversity and minority representation in our industry wasn’t working.The prevailing belief that you need to “pay your dues” and work for free in order to break into the industry, thus disqualifying countless candidates who couldn’t afford to work for free in order to gain experience and build relationships, wasn’t working.I’ve probably missed 150 equally important things that weren’t working (and if you scroll to the bottom I’ll show you how to add YOUR most important needs to this list).But hopefully you’re starting to get the point.Normal. Wasn’t. F*cking. Working.You Think It Was Bad Before? Just Wait…It’s painfully clear that normal wasn’t working before the pandemic. But if we don’t start having very difficult conversations about what needs to change in our industry, it’s only going to get exponentially worse (in fact, it’s already happening).If we don’t address the important issues preventing us from living a sustainable life in this industry head on before production starts again, we’re going to long for the “good ‘ole days” when production covered our lunches (if we begged), bought printer paper and toner, provided us editing equipment and furniture, and made sure our offices had lights and air conditioning.Guess who’s paying for all those things while you work from home, providing your own editing hardware & software, paying your increased electricity and internet bills, all while desperately clinging to any paycheck available right now? You.If we don’t begin to set boundaries and have the confidence to respect ourselves, we will cherish the warm and fond memories of having some semblance of a barrier between work life and home life knowing that if we weren’t in the office, we weren’t immediately on call 24 hours a day at the beck and call of every random “urgent” need of directors and producers.You think being stuck at home unemployed is tough now? Wait until you’re working from home and getting text messages on a Saturday afternoon for a “quick fix,” you know, just cuz your machine is available and “you’re probably not going anywhere anyways, right?” (tee hee)You thought you were underpaid for your services before? Wait until the job market opens again and we all desperately claw our way to the bottom and devalue our rates knowing there will be lower budgets and less shows for the foreseeable future. But as long as you’re working, right?While the majority of post-production professionals are unemployed right now wishing they had some form of sustainable income, the minority of those who are still working are getting their asses kicked.7 day weeks. 16 hour days. No kit rentals to cover the use of their own equipment. No boundary between home and work. All while also trying to homeschool their kids and manage their own sanity during lockdown.As we await production to start again, this is Hollywood’s “trial period” to see what boundaries can be pushed in service of keeping us gainfully employed.How much are we really willing to concede in exchange for what will be smaller paychecks for more work in even less time than before?Listen, we should be lucky to have any work at all right now..right? RIGHT????Sorry Hollywood, but we’re not lucky to be here…you’re lucky to have us.If Now Isn’t The Time…Then When?In March we didn’t know what we were dealing with, but now we do. Covid-19 isn’t going away anytime soon.We’re playing a long game of chess for at least a year or more. At some point we have to figure out a way to get back to work safely with minimal exposure to the virus. Lives will absolutely be lost, but this industry was killing us before the pandemic. We’re just now more acutely aware of the dangers we face.Thankfully we have countless organizations and medical professionals compiling hundreds of pages of industry-wide guidelines (that I shared at the top of this article) which outline in excruciating detail the necessary safety guidelines and protocols that must be put in place in order to protect all of us.But while the professionals focus on the safety protocols that will protect us from Covid-19, we as individuals need to focus on the importance of this moment and the stance we must take now to protect us…from ourselves.As I argue in excruciating detail in this article:It’s so tempting to blame the studio executives and producers for the poor working conditions and the unhealthy lifestyles…but it’s not their fault. This is our fault.We have spent decades collectively enabling, accepting, and perpetuating all of the behaviors outlined above, all in fear of losing our jobs.Well guess what? Practically none of us have jobs right now anyways.For the first time in cinema history…we have nothing to lose.If ever there was a time to set boundaries and demand change, it’s now.The list of requests is overwhelming. I get it. We’re not going to change everything overnight (or ever). But while we have this window of opportunity, we need to focus on what I believe are the three most vital things we must not back down on when production begins again.DO NOT SIGN LIABILITY WAIVERS. I can’t believe I even have to write this, but there is no more important precedent to set with the industry than our refusal to sign away our lives (literally) for the privilege of having work.The “standard” 60-hr work week has to go. Period. Point me to a scientific study that shows more work hours beyond 45 leads to increased productivity and creativity, and I’ll send you 100 studies that definitively disprove your theory. More hours does not equal more output. And more importantly, the harder we work, the more compromised our immune systems become, and the more likely we are to not only contract but also spread Covid-19.Paid kit rentals should be standard for everyone asked to work from home. If you provide equipment that the production or a facility would have provided before, you should be compensated accordingly. This includes stipends to cover fast internet, electricity, printer toner, etc etc etc.I know how badly we all want to get back to work, but imagine the possibilities if we all made a collective effort to do this right instead of doing it fast?That’s a new version of Hollywood I’m willing to be a part of.The alternative terrifies me.Want Your Concerns Added To This List?There is a lot that wasn’t working in Hollywood (and the entertainment industry worldwide). If you’d like to contribute to this ever-growing list, here’s how to participate:1) Share this article to your community of choice (using the share buttons to the left of this post…also at the top of the post). This includes Facebook groups, Reddit threads, etc.2) In the post, express what wasn’t working in your life that needs to change.E.g. “Being stuck in traffic for 4 hours a day wasn’t working!3) Tag me!» Here’s my Facebook page, Instagram profile, LinkedIn profile, and Reddit profile. I’m not on Twitter (and won’t be caught dead there).I and my team will do our best to keep up with the posts and add your concerns to this list anonymously. Collectively we can make change happen.

“It’s all about how you get to the starting line. That’s the real story.” – Wes PlateThere aren’t many of us working 12 + hours a day in a dark room in post-production that think about running 240-mile ultra-marathons. We have enough to worry about on a daily basis, whether it’s building an at home work station (and fumbling with complicated WFH workflows) or learning new skills to weather the market during this pandemic, or chasing after our kids while simultaneously home-schooling them (and desperately trying to keep them off screens all day long). The last thing on our minds is training for an ultra endurance marathon.Today’s guest, Wes Plate, didn’t start out with such a lofty goal either. Wes is a former editor turned software developer for Apple who works on the team developing Final Cut Pro X, so he’s no stranger to working long hours. He was a self-proclaimed workaholic and an alcoholic who hit rock bottom in 2007, weighing 240 pounds. After checking himself into rehab (after hitting rock bottom at a family Christmas party), he knew he had to get his life back in order.In today’s conversation, you’ll hear the challenges and hard lessons that Wes learned on his journey from being a depressed, overworked alcoholic to a lean and happy Ultramarathoner. He shares the secrets and strategies he uses to overcome injuries and obstacles that life presents along the way. And he speaks in-depth about the mindsets that have led to his transformation into a happy and healthy father, professional, and athlete.If you’ve ever felt stuck in a rut and hopeless to get back on track, Wes’ story will provide inspiration and motivation to get you off the couch and onto your own starting line – however you choose to define it.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere’s What You’ll Learn:Wes’ experience working for apple on the team that makes Final Cut Pro XHow Wes balances a demanding job for Apple with moonlighting as an Ultra Marathon runner.His story of hitting rock bottom after gaining weight and putting his mental and physical health on the back burner which led to checking himself into rehab for alcohol addiction.How he used a Garmin watch and telephone poles to kick-start a running routine.How he used small goals to build habits to improve his health.How he signed up for 5K races to get fit enough to join Fitness in Post.The importance of nutrition and hydration after finishing his first 50K race and barely being able to walk afterward.The real story is how you get to the starting line and not about how you perform in the race.How he sees himself as a normal guy, not a super athlete that just wants to do hard things step by step.How saying yes to running led to a domino effect of life improvements like meeting his running heroes and being part of the Ultrarunning communityWhy he’s learned to treat failure as just another piece of information to learn fromThe similarities between training for Ultra marathons and the creative process Useful Resources Mentioned:Wesplate.comWes’ Blog of his recoveryWes’ Moab 240 Endurance Run – 2019 Film (AMAZING! MUST WATCH)Ep19: From Rehab to Running Ultra Marathons | with Wes Plate6 Lessons Learned From 6 Months of Training For American Ninja Warrior From ‘Dad Bod’ to…American Ninja Warrior?From Couch to Star Wars 10KOur 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:Wes Plate worked in Seattle as an offline editor in the late 90s and early 2000s.In 2001 he co-founded Automatic Duck, a software company that became well-known for making timeline translation plug-ins for Avid, FCP and AE users. Today he works at Apple as a Product Designer in the Pro Apps group working on Final Cut Pro.Wes doesn’t edit professionally any more, but does have a YouTube channel where he shares videos of his epic running adventures.Wes Plate’s WebsiteWes Plate on InstagramWes Plate on YouTubeWes Plate on TwitterWes Plate on LinkedinShow 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 amazing how global pandemics, worldwide protesting and riots, and the general upheaval of society as we know it can make you think. It certainly helps to lend perspective on what’s really important in life and the choices we’ve made that led us to where we are right now at this moment.One of the most important realizations I’ve had is that because of travel restrictions and both of my parents being in the highest risk category for the COVID virus, I have no way of seeing them in person again until there’s either a reliable vaccine or we reach herd immunity. At this point that could be months or even years.For a long time now I’ve wanted to sit down and do an interview with my father to ask him the big questions about life that we seldom (if ever) really discuss. So for this Father’s Day, I decided it was time to prioritize this conversation, even if it meant having to suffer through the perils of recording on Zoom as opposed to chatting face-to-face.This episode is a very special and personal one that I recorded for me, not for social media shares, not for search engine optimization, and not to grow an email list. This one is for me. But my hope is that listening to today’s conversation inspires you to reach out to your parents (if you’re fortunate enough they are still alive), or your siblings, or those who helped shape the person you are today so you can have an honest conversation just like this one.I’ve created a series of 20 specific questions I’m calling “20 Questions to Ask Your Father On Father’s Day” (which can of course be repurposed to suit your needs). These questions were inspired by a similar exercise from high performance coach Brendon Burchard in this Facebook post.If you’d like to use the same questions I asked in this interview, here they are:YOUR BACKGROUNDWhen were you born, where, and what memories come to mind when you think about growing up as a young child?What are the most formative memories or experiences you had as a child or dteenager that led you to the person you have become today?What is the most important lesson you learned from your mom?What is the most important lesson you learned from your dad?If your parents were still alive today and could talk to my kids (their great-grandchildren), what would they want to share with them?YOUR CAREERWhat path did you begin on in life when you first became an adult and why?What career path (or paths) have you followed since then and why?What do (did) you love the most about your career?What makes you successful at what you do?What do you believe about yourself that has help you endure difficult times, and what is the most difficult experience you remember teaching you this lesson?YOUR FAMILYHow did you meet your spouse, when, and how did you know they were the one?Were you scared to become a parent?What is your proudest memory of being a parent?What three words would best describe your approach to being a parent?In regards to both their careers and life choices, what is the most important thing my children should focus on?YOUR LIFEWhat three words would you say best describe who you tried to be in life and how you want to be remembered?What were the three best decisions you’ve ever made?What are you most proud of in life?What message do you have for your spouse that you want her/him to always keep in mind about you and your relationship together?What are you most thankful for?Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeUseful Resources Mentioned:Feeling Lost? It’s Time to ‘Find Your Why’ | with David MeadArnold Reading ClinicGuest Bio:Al Arnold has been working with struggling readers for fifty years as an elementary classroom teacher, elementary principal, and instructor at the university graduate level in a program for certifying reading teachers and reading specialists.He has always been engaged in studying the science of reading and struggling readers and applying it in his work. The elementary school where he was the principal received an award from the Education Trust in Washington D.C. for improvement in reading achievement.In 2007 he established a reading clinic to implement and further refine the techniques and curriculum he has learned and developed to remediate struggling readers.Arnold Reading ClinicArnold Reading Magic iPad AppShow Credits:This episode was edited by Curtis Fritsch, 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).

“This moment is necessary as much as it is uncomfortable.”- Monty DeGraff (Comments on diversity in Hollywood June 2020)According to a 2019 survey of 1700+ post-production professionals (thanks to Blue Collar Post Collective), 1.5% of those surveyed identified as ‘African-American’ with over 80% identifying as ‘White.’Let this sink in for a second...1% of people in post identify as African-American.How is this possible? Is there a systemic reason for this? Or on the contrary, should we just accept that “it is what it is?”Seasoned editor Monty DeGraff, ACE (Star Trek: The Next Generation, Law & Order, Daredevil, Man In the High Castle, Narcos: Mexico) worked in Hollywood post-production for 9 years before he met another black person like himself. Over the years, he’s seen very little increase in the number of black people working in post-production, largely because there has never been a real incentive to change it.In this interview, Monty and I address some of the following questions:Why aren’t black people getting the opportunities they deserve?In the midst of the COVID- 19 pandemic where many of us are forced out of work, can we finally take the time to examine our own responsibility in the racial epidemic that is happening in Hollywood?Can we honestly evaluate where our internal biases have informed the status quo?Can we recognize that white privilege doesn’t mean you had an easy life, it just means the color of your skin didn’t contribute to your hardships?This is an incredibly candid and uncomfortable conversation (as it needs to be) where Monty opens up about how he’s had to fight harder in this industry because he’s black, how internal biases inform the comfort level in the editing bay, and why white people need to start having these conversations with each other.If you have been feeling sad and helpless about racism and the mistreatment of black lives, please listen to this interview to gain insight into the black experience specifically in post from Monty’s perspective and hear his thoughts on what steps we can take collectively to make true and lasting change in the post-production industry.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 Monty almost became a lawyer but realized it was Hollywood that was his true calling.How he never considered himself a mentor but naturally fell into itHis advice on what assistants should be using to convince producers they can cut.Monty’s secret for how he fast-tracked himself from Assistant Editor to Editor. SPOILER: You have to ask.On diversity in Hollywood:How post-production in Hollywood is predominately white and how he’s had to navigate that to get the opportunities he’s had.What it’s like to go into a room and see the surprise on an interviewer’s face that you’re black and they weren’t expecting that.What football has to do with unconscious bias and how we can learn from it in our own lives.How we all have prejudices, regardless of race, and this is a moment to check ourselves.What Monty believes is the ONE thing that connects us to all people.How to see beyond color and find commonality beyond the superficial things that seem to separate us.How most black people believe they will encounter hostility working in white environments and how that affects them.Why Monty thinks white people need to have the race conversation amongst themselves and what specifically they can talk about to make forward progress.The importance of self-reflection and looking into our own hearts and minds to see how we are reacting to the world around us.White privilege doesn’t mean your life wasn’t hard, it just means the color of your skin wasn’t one of the reasons that your life was hard. Useful Resources Mentioned:Monty DeGraff in CineMontage Blue Collar Post Collective SurveysWant to Be Part of the Solution but Don’t Know How? Start with Listening.More Podcasts & Articles on EqualityGuest Bio:Monty DeGraff was born and raised in New York City where he attended public schools. He graduated from the University of Rochester with a B.A. in History and then headed west to California. Through a classmate he landed a job as a page at ABC and from there quickly became an Apprentice Editor in their film department. This allowed Monty to join the MPEG just as non-linear editing was beginning to reshape television post production.Monty became an Assistant Editor on Star Trek: TNG and it was there that he received his first credit as Editor. In took 3 more years bouncing between being an Editor and an AE before Monty landed a job as Editor for Dick Wolf on Law&Order. He stayed there for 5 seasons , one of which won the Emmy award for best Dramatic series.Since then Monty has worked on shows big ( “Daredevil”, “Narcos: Mexico “, and “The Man in the High Castle” ) and small and everything in between. Monty’s love of craft continues to grow, as does the enjoyment he gets from working with talented, passionate storytellers. In addition to the pleasure of cutting, Monty has found great satisfaction from mentoring the next generation of editors. He currently working on a spinoff of the STARZ series “Power” called “Raising Kanan”.Monty DeGraff in CineMontage 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Be nice.Could it possibly be that simple?Given everything happening in the world, all the hatred, all the cynicism, all the distrust around the globe in every corner of society...is it possible that the fastest path to success in any field is simply to “be nice?”In Hollywood it seems like this is as far from the truth as humanly possible. We all know that “nice guys finish last.” It’s those with the guts to take what’s theirs and step all over people along the way that ultimately climb to the top. If you’re going to succeed in a world of “crabs in a bucket,” you’re on your own...right?No matter how hard that poor crab wants to escape to a better life, the other crabs still stuck in the bucket refuse to let him free.In my interview with multiple Emmy-winning editor Jesse Averna, ACE (recorded shortly before the murder of George Floyd and the ensuing riots), Jesse and I talk about the importance of treating every human being equally and providing value to others first as a way to climb to the top...while bringing others along with you.Jesse and I believe that “a rising tide can lift all boats” and Hollywood does not have to be a zero-sum game whereby helping others means you’ve created more competition for yourself.Jesse and I believe deep within our hearts that everyone’s voice needs to be heard equally, and the best idea is the one that wins - no matter if it comes from the CEO or the janitor.Learn from Jesse how you too can cultivate compassion, empathy, and use positivity as the guiding force that leads to your success...and if you stick around you might also learn at least 50 amazing tips for working in animation post-production too (the only place where people in Hollywood are still working PERIOD).Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:What is the ‘origin story’ of the great Jesse Averna? How did you get started?You received a lot of acclaim & recognition for your work on Sesame Street, how did that lead to your transition to animation?What are your thoughts on how this pandemic situation could be a boon to animation?What skills should people develop to get into animation?How is the editing process different for animation vs. live action?How long do animation projects run for vs. scripted television?What are the upsides and downsides of working in animation?If animated features can take 3 or 4 years to produce, how can you make objective creative decisions after being immersed in a project for so long?What tips or advice can you give on getting hired in animation as an Editor?Are there more opportunities for assistant editors to be involved in the creative process in animation? And is it more common for Editors to extend their Assistants mentorship opportunities?Key Takeaway: Jesse & Zack brilliantly reframe the Editor & Assistant Editor relationship. They also offer advice on how to create space for mistakes to happen and be learned from without embarrassment.If I were to ask some of your closest and colleagues in the industry about Jesse Averna. People who have seen you make your rise - What would they tell me about you that has been the KEY difference in the way that you manage people, manage relationships, and put yourself out there in the world?Why do you think so many people think they need to step on others to climb the ladder of success in Hollywood?For introverts, how can we relieve the anxiety around networking? For example, what mindset do you go into networking events with?Do you think for someone who’s in live action that this is a good time to make the move to animation?Key Takeaway: “It’s better to be at the bottom of a ladder you WANT to climb, than to be halfway up the ladder you don’t want to climb. But be responsible to the people in your life who depend on you to provide.”If I wanted to start from the bottom rung and break in on the ground floor in animation, what does that look like?How can we know whether we actually ARE putting ourselves in the right place at the right time? How can I make sure the right opportunities don’t pass me by unnoticed?What is the single most important step I can take to get into animation when my background is in scripted television?How can I find recruiters for animation studios?What is the most important message you want listeners to leave with? Useful Resources Mentioned:Post Chat Facebook GroupIt Is Possible to Be Both Successful and Kind At the Same Time?How to Build Your Network: Articles & Podcast InterviewsMaking It In Hollywood as a “Creative” (What They Don’t Teach You In Film School) | with Norman HollynHow to Provide Value & Get Paid What You’re Worth | Community Q&A with Monica DanielOur 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:Jesse Averna, ACE is a father, a husband, and a 5x Emmy winning Editor. His career has spanned TV and feature, live-action and animation. Jesse was a founder of the #PostChat community on Twitter and Facebook for Post Professionals. He has also taught various NLEs at NYC’s School of Visual Arts Continuing Education.Jesse Averna on IMDBPost Chat Facebook GroupJesse Averna on TwitterShow Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

There are few moments scarier in life than when you examine where you are in your career and say to yourself:“I don’t want to be doing this anymore.”Whether you’ve been pigeonholed your entire career and you hate the kinds of projects you work on today, or because you can’t financially afford to say ‘No’ to the wrong gigs, or because you’re afraid of building something on your own because it’s easier to work for others, or [insert your excuse here], it’s hard coming to the realization that you need to make a major change in your life. The only thing harder than that moment...is the years of hard work that comes after it.What differentiates those who successfully make major life transitions versus those who continue to stay stuck? What differentiates the “winners” from everyone else? Whether you are pursuing your ‘dream job’ or building your own business, how can you put yourself in the financial position to have greater freedom over your future career choices, global pandemic or otherwise?And most importantly, how do YOU define your version of a “Rich Life?”In today’s podcast interview I have the pleasure of chatting with one of the world’s foremost experts on all of these topics. Ramit Sethi is the founder of I Will Teach You to Be Rich, and author of the New York Times bestseller, "I Will Teach You To Be Rich." He writes about money, business, and psychology for 1 million+ readers every month. And he is also my business mentor and the #1 influence that helped me transition from being “just an editor” to making a living on my terms by podcasting, coaching, & mentoring.Get ready for 60+ minutes of knowledge bombs, because this podcast could change the direction of your entire life. And if you don’t believe that’s possible, my entire life changed five years ago the first time I heard Ramit Sethi on a podcast, and I wouldn’t be here today had I not listened, taken notes, and most importantly...taken action.Interested in starting your own business and learning from the best?» Click here to learn more about Ramit's 'Earnable' programWant to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:The story behind the (scammy sounding) “I Will Teach You To Be Rich” brand name. Why Ramit called it that and how he responded to pressure to change the name.How frustrating it can be when you really want to help people and know you’re good at it, but people don’t want to listen. And how that frustration can lead to your first ‘pivotal moment’ as a potential entrepreneur.How Ramit started his financial blog with no expectation of making money at it.The big break that changed the trajectory of his life, and how Ramit works to engineer the ‘good luck’ that attracts those opportunities.Why professional freelancers & business owners are often better equipped to handle economic uncertainty. (Like the "unprecedented" COVID-19 pandemic we're currently living through.)Ramit’s advice for people who don’t want to rely on someone else’s projects for income and want to start a business of their own, but don’t know where to start.Try this powerful exercise: “If you had prepared for a pandemic what would that look like?”The importance of saying “no” to gigs that don’t align with your goals as a freelancer. And how so many of us find ourselves running in place or pigeonholed because we keep saying “yes” to the wrong projects.What does it really mean to pursue a rich life?How to take this pandemic as an opportunity - even when it looks like a huge setback.Ramit Sethi’s “C.E.O.” model of creating a rich life.The “Ah-Ha!” moment when Zack realized: “There’s a limit to what I can cut, but no limit to what I can earn.”Why most of us are asking the wrong financial questions. Discover the kinds of questions we should be asking instead.How to overcome the fear: “Who do I think I am? How dare I try to start a business and ask people for money in exchange for my services?”How to create a system to organize your finances with multiple bank accounts and set yourself up for ‘guilt-free spending’. (Learn more in chapter 5 of Ramit’s book.)How Zack’s ‘guilt-free spending’ account might have saved his marriage. Useful Resources Mentioned:Ramit Sethi's Earnable programRamit Sethi's book: I Will Teach You To Be RichThe ‘Profit First’ Financial System (That Gives You the Freedom to Say ‘No’ to the Wrong Gigs) | with Mike MichalowiczHow to Optimize Your Finances As a Freelancer or Small Business Owner | with Sylvia InksSurviving Freelancer Unemployment: How to Manage Your Budget For the ‘Gig Economy’ (Global Pandemic Edition)How to Organize & Prepare Your Finances As a Freelancer | Community Q&AMaking Sense of the Unemployment + Small Business Loans Train Wreck | Community Q&AWhen Are We Going Back to Work? And How Can We Earn Income Now? | Community Q&AHow to Provide Value & Get Paid What You’re Worth | Community Q&A with Monica DanielMy Review of Ramit Sethi's "Zero to Launch" CourseGuest Bio:Ramit Sethi is the founder of I Will Teach You to Be Rich (www.iwt.com), and author of the New York Times bestseller, I Will Teach You To Be Rich. He writes about money, business, and psychology for 1 million+ readers every month. Follow him on Twitter (@ramit), Instagram (@ramit), and Facebook.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

So many working in post-production around the world are obsessed with making the transition from being an assistant to being an editor. But does the journey end once you’re sitting in the editor’s chair? Or has the journey just begun?Editor and director Susan Vaill, ACE (Space Force, Gray’s Anatomy, This Is Us) has been helping to answer these questions as a mentor to many in scripted entertainment in Hollywood, and she’s become so passionate about the subject of helping assistant make the transition (and stick the landing, so to speak) that she even recently lead an Editor’s Guild panel titled “Bumped Up: The Leadership Workshop for New Editors.”So what are the most important questions that assistants who’ve recently been promoted into the editor’s chair don’t know to ask? What surprises might come their way they aren’t prepared for? What politics should they be aware of? What soft skills are necessary to build relationships and get invited back to jobs in the future?And if you haven’t made the transition yet but you are oh so close!!!, then what differentiates you from other people vying for the same position (especially if they have more experience than you)? What can you do to stand out?NOTE: This interview was conducted shortly before the pandemic struck (early March, 2020), so as you’re listening keep that in mind as we discuss her upcoming panels and general networking strategies.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:The fun story of how Susan and her twin sister ended up in a classic Double Mint Gum commercial in the ’80s.Susan’s amazing origin story and how just ONE experience with deck to deck editing in high school gave her the power to “see the matrix” and recognize editing ‘tricks’ in films & television shows early on in life.How a documentary job 20 years ago directly led to her working on Space Force today.The pivotal moment where Susan realized she had a lot more to offer than what was on her resume. And how she leveraged her unique perspective, background, and personality to make her resume so compelling that it jumpstarted her career.Hot Tip: Inject your personality into your resume!How Susan’s passion and life experiences motivated her to spearhead the panel on moving from Assistant Editor to Editor called ‘Bumped Up: the Leadership Workshop for New Editors’.Why the most common question she gets at her panels may surprise you.What compels Susan to put on these panels and give back to people in the industry.How she thinks about the difficulty of Assistant Editors moving to Editor in the current environment where they aren’t really gaining the creative skills it requires.Why Editors have to be proactive about mentoring their Assistant Editors to get the next generation ready to be our peers.The benefits of making a habit of getting away and taking lunch together.Why it’s so important to create a really comfortable, safe working place of your edit bay.F.A.I.L. = First Attempt in Learning.NOTE: Susan’s panel is limited to 30 participants, but they’ll do them every 3 months. Keep an eye on MPEG's events calendar page.Useful Resources Mentioned:Cobra Kai…Inside the Edit Suite | with Jon Hurtwitz, Josh Heald, and Hayden SchlossbergMentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACETo Assist or Not to Assist...That Is the Question (pt 1) | with Chris CavanaghBreaking “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: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:Susan Vaill, ACE, is an editor of both comedy and drama series, including This Is Us, Lodge 49 and the upcoming Space Force on Netflix. She has edited six television pilots and helped launch five shows in their first season.Born and raised in Los Angeles, Susan appeared with her twin sister Sarah in an ‘80s Doublemint gum commercial and the Hal Ashby film Bound For Glory. She studied film theory and art history at Williams College and got an MFA in film production at USC. After assistant-editing documentaries and feature films like The Last Samurai, Susan edited over 70 episodes of Grey’s Anatomy which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, in which Loretta Devine gave a guest performance that earned her an Emmy in 2011.More recently, Susan turned to comedy, editing the half-hour series Grandfathered, Me, Myself & I, and the upcoming comedy Space Force, created by Greg Daniels and Steve Carrell. She also edited the legal drama Doubt, the award-winning mega-hit This Is Us, and the critically acclaimed AMC dramedy Lodge 49. Two of Susan’s episodes of Lodge 49 earned spots on The New York Times’ and Entertainment Weekly’s year-end lists of Best Episodes of Television of 2019.In 2018, Susan was elected to the society of American Cinema Editors, and in 2019 she spearheaded ‘Bumped Up: the Leadership Workshop for New Editors’, co-sponsored by ACE and the Editors Guild, which she leads 2-3 times a year. Susan’s interests include golf and music-driven story-telling, and her favorite karaoke song is “I’m On A Boat” by The Lonely Island.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Having directed and produced such shows as Jack Ryan, Hunters, For All Mankind, Hell On Wheels, Legion, Waco, Goliath, and frankly too many others films and shows to count...Dennie Gordon is no stranger to working with giant crews on massive sets. Having also directed a feature film in China during the SARS outbreak, I think it’s safe to say that Dennie knows something about keeping her crew members safe despite the risks.And not more than 2 minutes into our interview, Dennie rolled the following grenade into the middle of the room:“I think the cameras are going to start rolling again when there’s a vaccine.”Whoah.So what does that mean for everyone who’s livelihoods depend on cameras rolling? On needing makeup and hair done, sets to be designed, built, and painted...lights to be set up, focused to be pulled, costumes to be purchased and fitted, and in the case of most of my listeners...footage that needs to be cut.What’s the plan if cameras don’t roll again until we have a vaccine? And are there alternatives? Will production flee to other states or other countries that are willing to take the risks? Are crew members going to have to choose between unemployment or signing death waivers?There are a lot of questions right now, and neither I nor Dennie promise to have the answers. But we do our best to discuss all of the various options out there so all of us can make more informed decisions about what comes next.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:Despite the “when there’s a vaccine” grenade Dennie rolled into the room, she assures us the Industry is putting protocols in place to make sets as safe as possible. But we have a long road ahead.Why she thinks talk shows, game shows, stage studio events will come back much sooner. Location set pieces won’t come back for a while.The astonishing story of Dennie Gordon's experience working on a feature film in China DURING the SARS-COV2 outbreak.Insurance. Waivers. Liability… Who’s really going to take this on at the end of the day?What should we expect working on set to look like before a vaccine?How do we tell good stories while following physical distancing guidelines?How can creative professionals continue building their careers? After all, we never learn anything when we’re not working.How will we be able to collaborate at the same level as before? For example, if writer’s rooms are meeting on Zoom calls instead of in person, how much gets lost in the creative process?Why not create stories that reflect the reality we’re living in with COVID-19?Dennie’s thoughts on having everyone live on set as a closed community where everyone is tested. (Example: Tyler Perry who built a set on a former army barracks.)Does she think people will be willing to live in a quarantined set, isolated from family and friends for months just to have a job again?What about reality shows? Will they resume before scripted?People in some countries such as Australia, New Zealand, Czechoslovakia, Iceland, & South Korea have already started shooting. What opportunities does that present?How do you navigate production when one state says they’re not ready to start shooting because it’s unsafe and in the next state, they’re saying “We’re already making television, what are you guys doing over there?”Since it’s going to be more expensive for productions to operate and doing so with less people, and considering that so many people will want to work and do it for less money, what effect do you expect that downward pressure on wages to have and what would you hope to see?What are we going to do about post-production or are they in a good enough position with remote workflows?Can you still tell the same quality stories if you never meet your post-production crew in person?What does pilot season look like? Do we think the structure of the way we do the business side of things is going to change?What do you think is going to happen to television in general considering the expected reduction in the volume of shows that will be produced?What are some of the ideas you’ve come up with to pivot and be innovative when it looks like you may not be able to go back to directing for a year or two?Does it make sense for you to provide value in other ways such as mentorship? And what does mentorship and networking look like in the time of coronavirus?Dennie Gordon’s words of wisdom: “Use this time. When this is all over, people will be able to define themselves by how they used this time.”Why Dennie expects us to have to get much better at communicating their ideas to each other.Do you think we’ll end up going towards making features and not doing episodic T.V. for a long time because it’s just so hard to sustain the level of production T.V. requires?Can we expect a resurgence of small indie movies? Useful Resources Mentioned:How The World’s Biggest Producers Are Plotting Their Way Out Of The PandemicReopening Hollywood: From Insurance To Testing, Crowd Scenes & Craft Services, Here Are The Pandemic Problems Studios Are Trying To Solve Before The RestartReopening Hollywood: Kurt Sutter On How To Bring Back TV Dramas After Coronavirus ShutdownWhat’s needed for Hollywood to get back to work safely?Mentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACEWhen Are We Going Back to Work? And How Can We Earn Income Now? | Community Q&AOur 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:Dennie Gordon has been a trailblazing female director her entire career; spanning the worlds of feature films, television series, mini-series and branded content. Her range of genre busting entertainment spans an unusual spectrum of comedy and drama.After being one of the first women to graduate from Yale's School of Drama with an MFA in Directing, Gordon first gained recognition when A HARD RAIN was chosen by Showtime's Discovery Program. Thanks to Steven Spielberg, a rough cut of her film attracted the attention of George Lucas who donated thefilm's mix at Skywalker Ranch.A HARD RAIN, which Gordon also wrote, went on to win dramatic awards at the British Short Film Festival and the Hampton's Film Festival. This film also caught the eye of David E. Kelley who enlisted Gordon to helm multiple episodes of his television series including GOLIATH, (where she was Co EP) PICKET FENCES, CHICAGO HOPE, ALLY MCBEAL, and THE PRACTICE. Gordon has directed over 100 hours of network television including such critically acclaimed series as LEGION, which was on many critic’s lists as a top 10 show of 2017, with the “astounding direction of Dennie Gordon and her twisted visionary imagery taking the X-Men universe to a whole new level”.Her other work includes BLOODLINE, RECTIFY, EMPIRE, KINGDOM, POWER, HELL ON WHEELS, GRACE & FRANKIE, THE OFFICE, 30 ROCK, Aaron Sorkin’s SPORTS NIGHT, and HBO's TRACEY TAKES ON, for which Gordon won the DGA Comedy Award. Gordon recently completed the mini-series WACO, JACK RYAN Season 2 FOR ALL MANKIND for Apple, and THE HUNT starring Al Pacino.Gordon directed the comedy cult hit JOE DIRT starring David Spade, and Christopher Walken, and WHAT A GIRL WANTS starring Oscar Winner Colin Firth, Dame Eileen Atkins, and Jonathan Pryce. Gordon was the first American woman to direct a film for the domestic Chinese market, called MY LUCKY STAR. The2013 film starred Oscar nominee Zhang Ziyi and Wang Leehom and was filmed in China and Singapore in the summer of 2012. MY LUCKY STAR was the number one film in China for 4 weeks on 5000 screens.Gordon is a sought after commercial director having completed campaigns for Honda, Toyota, Tsingtao beer and Xcel energy as well as campaigns with Jimmy Fallon, Betty White, Adam Devine and Don Cheadle. She recently completed a short dramatic film for Huawei, which was shot in Prague. She is repped by Little Minxand CAA.Dennie Gordon's websiteDennie in the L.A. Times article: What’s needed for Hollywood to get back to work safely?Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

“It’s okay to look at others and say, that’s not my path.”- Richard SanchezAs creative professionals in the gig economy, it’s virtually impossible for all of us to follow a single path that leads to success. We are not doctors and lawyers. Even if we put in the work and do as we’re told, we can end up miserable on the same projects year after year after year as opposed to working on projects that creatively fulfill us. Heck, we can seemingly do all the right things (and even invest hundreds of thousands of dollars in advanced education and degrees) and still end up fetching people’s coffee!So what’s the difference between those working consistently on dream projects they love versus those who spin on the hamster wheel of projects and dead-end jobs that go nowhere?There are those who wait for opportunities to come to them, and then there are those who create their own opportunities.Assistant editor (and co-creator of the Master the Workflow program) Richard Sanchez has belonged to both camps. In the past he found himself taking the same jobs over and over that didn’t really move him forwards. But after listening to my podcast interview with the creators of Cobra Kai where I systematically broke down my process to create my own dream job, something inside Richard changed.Richard realized the only thing standing between him and his dream project was himself. This realization was step one in a series of steps that slowly changed the direction of his career and led him to working on his dream project, ‘Bill & Ted Face the Music.’Listen to learn more about what specific steps Richard took to open the right door at the right time and create his own opportunities so that you can follow the same steps to create your own path to a more fulfilling career.NOTE: This interview was conducted shortly before the pandemic struck (early March, 2020), so as you’re listening keep that in mind as we discuss things like going out for lunches, meetings, etc.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:Richard Sanchez’s unique origin story that led to him working on Bill & Ted Face the Music (his dream gig from childhood).How he transitioned from reality to scripted on scripted/reality hybrid shows. One of which he discovered on EntertainmentCareers.net of all places.Richard’s take on 'luck': “Luck might get you the interview, it will not get you through the interview.” How my Cobra Kai podcast episode inspired him to seek out the Bill & Ted gig and the grit, tenacity, & resourcefulness that enabled him to overcome the obstacles along the way.The humble beginnings of Master the Workflow, a course that didn’t exist 5 years ago, quickly became the ‘industry standard’ for editors transitioning into scripted.Never lose an interview because of jargon or terminology: If someone asks you if you know something, never tell them “no”. Here's what to say instead [at 43:26]The most common questions Richard gets after his members complete Master the Workflow and the great advice he gives everyone who is just starting out.Why it’s okay to jump back and forth between scripted and your previous work until you get settled in. Useful Resources Mentioned:MasterTheWorkflow.comRichard Sanchez on FacebookCobra Kai…Inside the Edit Suite | with Jon Hurtwitz, Josh Heald, and Hayden SchlossbergWriting Great Outreach EmailsIt Is Possible to Be Both Successful and Kind At the Same TimeDear Hollywood…We Create Entertainment For a Living. We’re Not Curing Cancer.Cobra Kai ReviewOur 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:Richard became interested in editing while majoring in theatre at the University of California Irvine. Getting his start in unscripted television, he eventually worked his way into scripted television and feature films.Richard's television work include The Good Place and I'm Dying Up Here, having recently finished VFX editing on Catch-22 for Hulu, and is currently working on the upcoming feature film: Bill & Ted Face the Music.MasterTheWorkflow.comFacebook | TwitterShow Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Who am I to think I can start a business?If I did start a business, what would I even sell? Or teach? Or do?And do I need a ton of money to start something?What if I don’t want to change my whole life and give up on my career...but I still want to develop a ‘side hustle’? Is it possible to do both?These are all incredibly common questions for anyone who’s been bitten by the entrepreneurial bug. As the pandemic continues to plod along and we continue to wonder when work will return, it’s become very common for people to come to the realization “Maybe it’s time I rely less on other people’s projects and I start creating my own income sources.”In today’s Optimizer community Q&A we welcome special guest Misha Tenebaum, the CEO and Founder of EditStock and EditMentor. As a former assistant editor in scripted television, Misha is no stranger to balancing long hours working for others while trying to get his own ideas off the ground. He struggled at first building his business while balancing it with a demanding career, and it took him years to become an “overnight success story.” But it’s no accident that Misha is now the industry-leader in providing educational content for aspiring editors. There are certain key decisions Misha made that kept him moving forwards, and more importantly there are certain mindsets that ensured Misha would follow through with his business ideas to make the full-time transition from technician to entrepreneur.If you’re interested in using your time wisely, you could do a lot worse than listening to Misha and our coaching & mentorship community talk about what it takes to start your own business….even during a global pandemic.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episodeHere's What You'll Learn:How do we generate some form of income during this pandemic?Misha describes the humble beginnings of EditStock and what it took for him to overcome fear of failure.Why ideas in themselves aren’t valuable. And how to think about sharing your idea with people so that you get useful feedback that can shape your idea into a winner.How to think about pricing what you offer and avoid making false comparisons with other businesses.Why all of us creative professionals are ‘businesses’ and why we could all benefit from adopting an entrepreneurial mindset.Key Point: “Fail as fast as possible.”Misha’s transition from editor on a network show to doing EditStock full time.Debby’ returns for another short ‘hotseat” where we talk about the lack of structure of starting a new business from scratch, working with your strengths, and how to deal with overwhelm.How to get better feedback and get more of it.Misha’s “goal setting trick” and breaking down big ideas into manageable steps. Useful Resources Mentioned:[FiP] Ep90: Creating a Kick-Ass Demo Reel with Misha TenenbaumEditStock.comEditMentor.comHow to Provide Value & Get Paid What You’re Worth | Community Q&A with Monica DanielWhen Are We Going Back to Work? And How Can We Earn Income Now? | Community Q&AOur 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:Misha is the founder of EditStock.com, a site that provides professional quality film footage for editors to practice with.EditStock.comEditMentor.comShow Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared 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).Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.