On Directing Commercials, Opportunities in Entertainment and Maintaining Relationships: An interview with Filmmaker Nick Santana – Part 3 #indiefilm #kickstarter

As the short film “Elvis” continues to raise over 100% of its production funds through a Kickstarter project that ends in under 24 hours from now, it is clear that crowd funding is not only alive and well but also here to stay in 2012. After discussing how immigration challenges affect more people than we know and realizing ways that second tier film festivals may reach targeted audiences better, “Elvis” director Nick Santana also shares some insight into navigating the landscape of opportunities for filmmakers who want to direct commercials and/or motion pictures.

Madlab Post: In what ways did your work at William Morris Agency help to build your filmmaking reel?

Nick Santana: I built my filmmaking reel while I was there. It was great but very difficult because when you are an assistant to an agent, you don’t have a life – you’re constantly chasing new deals, trying to stay up on everything -- but the person who I worked for was a very cool mentor and very helpful. More importantly, I got to read a lot of good scripts and then I got to see a lot of good short films that came across our desks. So, it was great to see – I think it’s important to see other good work.

I don’t understand when people – like writers or novelists say “Oh, I don’t want to read certain books because I don’t want that to influence me.” I really think you’re cutting yourself short because you need to see good work and read good material. I mean, that’s the only way you’re going to ever get better.

I can assure you that the way you interpret something is so different than the way someone else is going to do it. You can direct the same movie and it will be completely different. So, I don’t think you should worry or let that get in the way – you should see some really good films and you should see some really bad films so you can go “wow, ok. This is bad!”

I think you need to allow yourself to see good work and bad work and then go out there and try it yourself and fail and not be afraid to fall short – to constantly keep doing stuff so you can improve.

How do you maintain a work/life balance or does film take up your entire existence?

You have to treat it like a full-time job. Sometimes, I get up at 6a.m. just to write and you kind of also have to make that a priority – you have to balance your social life, of course. I now only go out when I’m invited to dinners with friends or if it’s something where it’s like “I must do this,” then I’ll go out. Now, I’m so focused on doing this (“Elvis”) and I have some side projects in the tech space, there’s no time -- I want to come home immediately so I can work on all of these side projects and then, obviously, get some sleep as well. It’s hard but you just have to put in the time and do it.

Does indie film kill all relationships, as Heidi Van Lier says?

I don’t know Heidi, so I’m not speaking for her but speaking on my own terms and personal life with my wife – you have to have a balance in any relationship and you have to be supportive. My wife runs her own business and I’m supportive of her – I want to see my wife succeed, and everyone says “I support my spouse” but you really have to stand behind them and vice versa – My wife stands behind me, so, we just allocate time – Friday nights is date night, no matter what. It also helps that we don’t have children, but, we make it a point to do the date nights and going to bed early helps because I get up early.

Technology makes it so easy now to reply to emails – I can reply to emails on my phone, I don’t have to be on a desktop, so that cuts down on a lot of time but I think it really is about organization. I have another friend who is an independent filmmaker, Brant Sersen who is working on a new movie – he got married right after he went into production on his second feature film and now he has a daughter. He has a fully functional and healthy marriage. It’s with anything in life – you can’t be selfish. That’s the bottom line.

In a relationship, it’s a team effort – not one person, it’s two people and you have to realize that you have to be considerate to your partner and that’s it. Think about, not even filmmakers, but entrepreneurs or CEOs like Steve Jobs. He was the CEO of Apple and married and had kids. He was able to do it. Think about Sheryl Sandberg, who is the Chief Operating Officer of Facebook. She is married, has a high-level executive position and has children.

So when I hear “oooh, independent film ruins relationships,” they’re just being selfish artists, because when you think about someone like Sheryl Sandberg, I think the work that she is going has more of a global impact than an independent filmmaker and she’s still able to maintain a healthy relationship -- kids and all that.

How can filmmakers get jobs directing commercials for corporate brands?

That’s a hard one. The way I did it was crazy – I had a company represent me and the first company was kind of cool but then I left to get with a smaller company and that was a disaster and then I left. Now, people are doing it on their own without representation. There is a company called Tongal where assignments come on board and you can try to find work with brands to do online content. I think it’s easier moreso now than ever and you just have to have the chops and keep doing it – and networking as well.

You gotta get in there and network and constantly keep shooting because your reel can get outdated. Keep updating your work and show new stuff. A couple of years ago, I just put my reel together and go out there and get signed. I had to send my reel out – I was working at the William Morris Agency at the time and it was hard just to get anyone to notice me.

So as a favor, the agent that I was working for made some calls on my behalf and then people saw my reel. Again, you have to understand that the landscape for commercials has changed as well. Now, that’s why I feel like it’s so much easier for independent filmmakers to make things and get it online quicker, faster and cheaper whereas some of the commercial directors that were getting paid a lot of money aren’t used to doing that. They’ll still get the big accounts, but now, brands want to do consumer engagement so they’re looking for user generated content that obviously has good quality, of course, or that is clever or has a really good concept.

I don’t have representation and I’m actually working on something this Friday, so, there is no template or no one-way to get in. Some people do a commercial, enter a contest and get discovered that way. I also think about how we always hear these stories of someone posting something on YouTube and then they’re directing a commercial from that.

What are the differences between New York and California, regarding opportunities for independent filmmakers who want to direct movies?

L.A. has more production. The city of New York is a little more diverse so it’s not entirely focused on entertainment. With that said, I think it’s easier now, in general, to fund something and make a movie – Look at me, I’m using Kickstarter to fund my movie and I’m shooting it on an HDSLR camera and I’m probably going to edit this movie myself – do the first edit and then give it off to an editor, but, I remember having to pay an editor to sit there and edit my commercials for me, when I was getting my reel done.

There was just so much cost involved and now, you can kind of eliminate a lot of those costs and do it yourself – you can spend $2,000 and buy yourself a nice camera, go out and start shooting and get practice. Back when I was starting, I was shooting on film and that’s expensive! Most of the stuff that I did on my reel was shot on 35mm and we had to literally beg, borrow and steal – I can’t remember who lent me their camera, but it was an old school 35mm camera and I bought short ends.

Then, I had to haggle for the telecine, to transfer from film to video. Now, I bought myself a camera -- $2,000 and shot the trailer for my Kickstarter project myself, came home and edited it together. That cost me nothing but time. Now, I feel like it’s almost even made me a better filmmaker -- a better storyteller. The more you do, the more you practice, the better you get.

Thanks to Nick Santana for doing this interview!

If you’ve been following the happenings on Twitter or reading my recent blog posts, you’ll be happy to know that “Elvis” is now fully funded…but the campaign doesn’t stop here.

The Kickstarter project for this short film runs until tomorrow afternoon, which means that you still have time to support this movie by either sending a donation, posting on Facebook or telling your friends about “Elvis.”

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