This week I was working on a temporary version of a VFX shot for my day job. It will never end up on TV. It only exists to help the editor, director and producers to get an idea of what the final version might look like. And it struck me how differently big budget Hollywood and low budget indie approach filmmaking.

In my day job I’m a Visual Effects Assistant Editor. I work in the post production department. My only responsibility is visual effects, and I work with a team of other visual effects specialists. Our piece of the filmmaking pie is miniscule.

It made me think of all the “jobs” I held while making my first feature, Wild Boys. So I listed them out:

• Writer
• Director
• Producer
• Assistant director
• DIT
• Sound mixer (one day)
• Editor
• Assistant editor
• VFX artist
• Colorist
• Trailer editor

The contrast got me thinking of the age old debate of specialization versus generalization. Should we specialize or know a little bit of everything?

Let’s discuss.

With big money, comes narrow specialization

The obvious reason for this difference is money. With bug budgets you can hire more people who are great at their specific jobs. With no money you end up doing it yourself.

But where do these paths eventually lead?

Since I started working in Hollywood, I’ve narrowed down my specialization at every step. I started as an editor, doing a little bit of everything. When I moved up in budget level I took a step back to become an assistant editor, as a way to gain entry. From there I’ve now specialized as a VFX assistant editor.

At every step my influence on the end product has become smaller.

When working on bigger and bigger productions, especially below the line, it’s easy to get put in a box. The paycheck is nice enough, so you keep doing the same job over and over. Until all people think you can do is this one thing.

This is a dangerous path if you want to level up your skills and direct.

I’ve found my day job is more of an obstacle than a path forward when it comes to growing as a director. If you’re thinking of going down this same route, I’d recommend focusing on two things:

• Get as close to solving creative, story problems as you can
• Make your own films on the side

If you can’t, you’ll likely never reach the directing chair.

It's not about doing it all yourself

Directors don’t need to know how to do every single job involved with making a movie. But we do need to be able to effectively communicate with everyone on our team. Having a strong understanding of what it takes to do their job is essential.

It makes us better prepared to have great collaborative conversations. Which in turn makes us better problem solvers and leaders.

I’ve made it my goal to be the director who can talk to every department head about their job. Not to tell them what to do, but to understand them, and help them help me achieve our vision for the film. The proof is in my filmmaking journey.

I’ve worked as a

• location scout
• art department assistant
• prop master
• sound mixer
• camera operator
• grip
• and most jobs you can imagine in post production.

If there’s a department I haven’t worked in directly, I’ve worked closely with them.

It’s not a coincidence I was able to fit into so many different roles on Wild Boys.

Most of them were because there was no one else to do the job. Like the day we didn’t have a sound mixer on set. I brushed off my sound skills and hoisted the boom pole so we could make our day. I wouldn’t have been able to if I didn’t have a desire to learn.

In my final year at university, our class was divided into the different roles of a film crew. I wanted to direct, but there were only 4 spots available. I was number 5. I felt like I’d just wasted two years, and was about to waste another. When I was offered a role as a producer I declined, I was pissed.

I defiantly chose sound as my specialization - my biggest weakness.

I learned a lot that year, and the skillset I built led to my first job after college, mixing sound for live TV. It also gave me one of my best professional experiences so far, mixing sound for two seasons of The Amazing Race. All because I was willing to learn something new.

Now, when I’m directing I can earn the sound team’s trust with a short conversation, because they recognize I speak their language and value their work.

Wear those hats with pride

The longer I spend on the Hollywood side of the industry, the more I’m convinced the indie route is the better way to break through as a director.

The budget limitations we’re faced with forces us to wear many hats and solve all kinds of problems. I used to be afraid not spending enough of my energy on “directing” during my indie shoots made me a worse director. But I’ve learned the opposite is true.

Filmmaking is dealing with a constant barrage of expected and unexpected challenges. The director who is able to quickly come up with solutions is the one who will rise to the top.

If you’re just starting out, or have specialized in one filmmaking craft, challenge yourself to step out of your comfort zone. On your next project, take on one new aspect of filmmaking. It’ll open your eyes to new ways to solve problems, and different ways to tell your stories.

Conclusion

As indie filmmakers we’re forced to wear lots of hats, and solve a wide range of filmmaking challenges. When we see this is a strength and not an obstacle, we can build our skills as great communicators and leaders while making our indie projects.

Next week we’ll talk about luck, and the time I showed up to a production office unannounced and got to travel the world.

See you then,

Morten

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