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Music Marketing

Posted By Rick Goetz on July 6th, 2013

A blog for musicians and music industry people. It is a free educational resource and it is also the way I advertise my music consulting services. I am an entertainment professional with deep roots in the music industry. Throughout my music career I have been a major label A&R representative, a music supervisor, an artist manager, a reality show producer, a bass player and the head of a digital record label.

 

Posts Tagged ‘Hire a music video director’

How to Make a Good Music Video

Posted By Rick Goetz on August 15th, 2012

Jill Kaplan is a music video commissioner and the Founder of Skyway Productions. She got her start in the music business while attending Monmouth University in New Jersey, where she dj’ed at the college radio station and also worked at several clubs around Asbury Park. After interning at WNEW in the music department, she decided to combine her passion for music with her love of film and photography and accepted a job in the video department of Atlantic Records, where she worked for 13 years, steadily rising to the title of commissioner. Jill departed Atlantic Records in 2005 to pursue her love of indie and alternative music and opened Skyway Productions – named after the Replacements song. Throughout her nearly two decades in the music video industry, she has commissioned DVDs and music videos with hundreds of artists across genres, including Death Cab for Cutie, Bloc Party, Christina Perri, Chromeo, Brandy and The Donnas.

 

 

I recently got to talk to Jill about her experiences playing video matchmaker to directors and artists and the many roles of a video commissioner. She also shared some valuable advice for bands looking to find the right director for their video projects, especially when working with a limited budget.

 

Musician Coaching:

 

Thanks for taking the time to talk, Jill. How did you get into the music industry?

 

JK:

 

My very earliest introduction to the music industry was when I was going to school at Monmouth, dj’ing at the radio station and working at several clubs in Asbury Park. I was very lucky to be in a town with great national touring acts coming through town on a regular basis. I eventually started interning at WNEW in the music department. I thought I was going to go into radio – not on air, but working as a music director. I was very inspired early on by Lorraine Caruso, who was the musical director at WNEW at the time and had amazing taste in music.

 

I met a lot of people at labels through that experience, but then realized very quickly that radio is an interesting place, but ultimately was not a long-term career for me. People moved around a lot, and it was a very small community. There didn’t seem like a lot of room for growth. I started thinking about going into management or working at a record company. And then I got a call that there was a position open in the video department at Atlantic Records. It actually ended up being a perfect fit, because I also had a very strong interest in photography and film. And putting that together with my complete and utter obsession with music was perfect. It was a really great place to learn from the ground, up for many years. The budgets were decent, the departments were a nice size, and we had really great resources. I started as an assistant to a commissioner, and with some really great mentors, worked my way up to commissioner. I stayed there for 13 years and made it through many regime and culture changes. I did everything from rap, to country, to pop, rock and alternative.

I had a lot of friends who ran indie labels and were in indie bands, so when I left Atlantic it was a perfect segue into my own business. I was working with Death Cab For Cutie on their DVD entitled Directions for Atlantic, and as a result of that their former indie label Barsuk, was one of my first clients with Skyway. I was able to pick up a lot of indie clients, but I also still work with major labels as well and have been fortunate to develop a pretty deep resume.

 

Musician Coaching:

 

So, what does a video commissioner do? From what I understand, you help artists find the right director for their videos.

 

JK:

 

Correct. I tend to look at myself as a video matchmaker. I know probably thousands of video directors, producers and reps, and I’m always searching for new directors as well. I go to film festivals and speak at film schools, scour the Internet for videos on YouTube that have been created by the friends of bands. You find new directors constantly in all different ways, not just through traditional routes like production companies.

 

Sometimes bands and managers will hire me directly, but most of the time it’s the record label who hires me. They tell me their budget, give me a general idea of what they’re looking for, and I think about who I think might be appropriate for the project. I reach out to a handful of directors and see who wants to submit a treatment. And after I get treatments, I help the band and the label move through the process and figure out their direction. My role is actually similar to that of an executive producer in the movie industry. I am the liaison between the production world and the music world, and I make sure everything written in the treatment is represented and done in the final process. I oversee everything to make sure artists get what they want. I also help oversee travel arrangements, band equipment rental, rehearsals, wardrobe, hair, make-up – anything that is needed for the shoot. The production companies have what is called a line producer, who hires the whole crew, but I help oversee that on behalf of the label to make sure everyone is happy.

 

When it comes time to make the video, I try to be at every shoot I can attend to hold the band’s hand and be supportive, make sure the treatment is being accurately represented. Then after the shoot, once the video goes into post production, we get edits, and we filter those through  to the label and the band. I compile comments and help get the video finished through to delivery, then hand it off to someone else to do the promotion.

 

I only do video production – the creative side. I get calls from people that think a video commissioner automatically does both the creative and promotional tasks (and there are very few who do) – and that I’ll submit it to MTV or at least get it on its way. But what I do is get bands a finished video, delivered. And then the labels can do their thing with it. Every video is my baby, and after it’s out there in the world, I cross my fingers and hope the next person does the right thing, and that people get to see it.

 

Musician Coaching:

 

You’ve made a lot of matches out there. What makes for a great artist-director pairing?

 

JK:

 

Some bands will pick a director just based on a treatment, but you really have to look at each director’s reel as well. It’s extremely important to see the full body of work. There are some people who are great writers, but not good executors.

 

I think the willingness to collaborate on both sides is also probably one of the most important things. Once you’ve made the match, as an artist, you have to have a lot of trust and be able to let go and let the director realize his/her vision. And the director also has to realize that this is a representation of the band’s song, and they have to be willing and able to collaborate with that band. It’s hard sometimes for bands to allow directors to set visual to their music. Because, when artists are writing a song, a lot of times they have a very visual idea of what a video might look like, but it’s very often a two-way collaborative process.

 

Musician Coaching:

 

And what should artists do to prepare to work with a director?

 

JK:

 

I think it’s great for a band to look on some of the music blogs and look at the new videos that are being made. Because, it can be really hard when we’re trying to make a video with someone, and they can only reference videos by Chris Cunningham and Spike Jonze that cost hundreds of thousands of dollars, that they saw when they were 15. I like when I work with artists that have looked on sites like Pitchfork and Video Static – the places that show new music videos – and see things being done in budget ranges that are very realistic. I think if you’re an artist getting into video, that’s a good way to educate yourself and see what’s out there. Bands I work with that have done that can give me a really clear idea of what they are and are not looking for.

 

What is also really important is to be open. A lot of times bands will come with a written treatment that outlines, shot by shot, exactly what they want. The problem with doing that is they don’t understand what things cost or how things are executed. Bands need to let go a little bit and be open to where the video can go visually instead of putting themselves inside a very rigid box.

 

Musician Coaching:

 

I know your clientele has changed since your Atlantic days, moving from major labels to a lot of labels within the indie world. Would you say videos have gotten more or less expensive over the years?

 

JK:

 

When I was at Atlantic during the ‘90s and early 2000s,the budgets were massive. Most of the major labels routinely spent anywhere between $500,000 – $1 million per video and would do several videos with an artist without blinking an eye. Budgets did start to drop a bit in the late ‘90s, and by around 2000, many of these big-budget videos had dropped down to around $300,000 or less. By the time I started freelancing after Atlantic, people were spending $50,000 on a video that used to cost $250,000. There are still certain bands for whom it makes sense to spend a lot of money. But I would say budget these days for indie bands are usually between $5,000 and $25,000 but does go higher in certain instances. The bigger rock acts and also pop stars spend a good amount more because there is more involved. There are a lot of extra costs like hair, make-up, styling and choreography. But I think overall, the budgets are a tiny fraction of what they used to be.

 

I wouldn’t say anybody gets into making music videos anymore just to make money. I think you have to really love music to do it. If you’re really just into film, then you should probably go into commercials and film as music videos are not overall the lucrative profession they were years ago. People like me who are on the production side commissioning, producing and working in different departments of music video crews do it for the love of music and not to get rich. That all went away a long time ago. As the budgets have dropped, all of our fees have dropped as well. If you have a lot of energy and don’t mind not sleeping and can handle working on many videos at once, you will be able to make a living at it and get to work with a lot of great people. But you really have to have a great passion for it. There are only a handful of directors who make it huge, as is also the case with actors/actresses and musicians.

 

Of course, this same phenomenon has been happening across the industry. Marketing, publicity and all other budgets are a fraction of what they used to be, in part because technology has evolved so much. And what you can do with post production now is incredible compared to what you used to be able to do. As an example, I can’t remember the last time I shot on film. Aside from the problem of illegal downloading and piracy in the industry, I think the other curse, which of course has also been a blessing, is that technology has made everything a lot cheaper to execute. It’s very hard to watch such amazing, creative work being done and seeing people not always being well compensated for it. Directors work long hours, put their hearts and souls into the process and often make just a few thousand dollars (or less) on some of the videos. I feel very sympathetic towards this and try to give them as much creative freedom as I can while still remembering that at the end of the day, the music video is a marketing tool for the band.

 

Musician Coaching:

 

I’m sure you can come up with a handful of things that artists should keep in mind as they are preparing for the process of making a video that would make the process more time and cost efficient, especially geared towards bands shooting their first videos.

 

JK:

 

I would say, try to shoot where you live, so you’re not wasting any money on travel. Or if you want to shoot a video in another city, try to shoot it while you’re on tour, whether you’re in L.A., New York or a city that is a production hub.

 

Also, before you have huge ideas involving 7,000 locations, think about keeping it simple. What can you do to utilize the resources you have? If you’re shooting in your town, you’ll have your band equipment, or you might have a friend that owns a club or you might have a cool zoo.

 

The idea of working with what you have instead of with what you don’t have is actually really important. A lot of artists have platinum taste, but a silver budget. Some of my favorite videos that I’ve made over the past five years or so have been some of the cheapest. I really feel like the lower the budgets are, the more creative you have to be. Everybody really pitches in. I find that incredibly satisfying.

 

So, if you’re a band or an artist making your first video, your first step is to look at what you have where you live. Is there a local film school with students looking for a project? First of all, they are often able to just sign out film, video and post-production equipment for free. They have all these normally expensive resources at their fingertips. Then, they get huge student discounts with vendors as well.
Then, if you’re working with young directors who are just out of school, you just need to try to go in with an open mind. Don’t plan an extravaganza that you can’t afford. And if you don’t have a lot of money, you need to also give them time. You can’t say,  “I have no money, but my idea that should cost $100,000 needs to be done in two weeks.” If you give them extra time and do things at a slightly different pace, they can usually pull favors and present you with really high-quality work.

 

You should also surround yourself with people who are going to be honest with you. Don’t just hire “yes” people who will just agree with all your ideas because you are paying them. You need to also surround yourself with people who aren’t afraid to tell you when you’re making a mistake. A lot of young bands get caught in that trap, where they don’t have objectivity and then are not open to hearing constructive feedback. And this becomes a major deterrent to getting the project done well.

 

To learn more about Jill Kaplan and the diverse work she does for artists, visit the Skyway Productions website.

Making Music Video with Darren Doane

Posted By Rick Goetz on April 22nd, 2010

Darren Doane is a film maker and music video director who has made dozens of music videos for high profile artists such as Jason Mraz, AFI, Kyuss, The Deftones, Blink 182, Colbie Caillat, Buckcherry, Zac Brown Band and Uncle Kracker and countless more. Darren also does film projects for several large ad agencies and consumer products. I was lucky enough to have a chance to chat with Darren about his approach and experience making music videos.

Darren Doane filming Jason Mraz

Music Consultant:
Darren, thanks for your time. Tell me a bit about how you became a video director for major label artists?

DD:
I wanted to draw comic books, and so that was my direction all throughout junior high and high school. At the same time, I grew up with a camcorder in my hand. I think my generation was the first generation raised with a camcorder – I’m 38 – that wasn’t weird. Not that the generation prior wasn’t raised with super 8 cameras in their hands, but there was something, “Wow, you had a video camera,” where super 8 cameras – everyone had a super 8 camera. “Dad had a super 8 camera, and that will be fun.” The cult of video that hit in the 80s made it cool.

In my senior year, I got all my rejection letters from places where I would pursue drawing comic books and I was stunned. I thought, “What do you mean Marvel and DC aren’t going to hire me?” I remember thinking, “Well, I better do something else.” And I loved music video. I was a music fanatic. And then all that got channeled really quickly. I said, “I love all that, and I love making little films and filming my friends’ bands.” I was a music video junkie.

Music Consultant:

Well, at 38, you were also the first of music video generation too.

DD:
Yes. I was raised on that, but I was raised on it in a way where I really liked music videos. I liked them so much that I remember when the Paula Abdul “Straight Up” video came out, I knew there was something even different about that video. I thought, “Wait a minute. Something’s going on here. You’ve got over-exposed lighting and you’re seeing the set.” I remember thinking, wow. At that time you didn’t have the Internet, so you couldn’t search for that. You had to search and get the pieces together and realize who David Fincher is. You would do some research and realize he shot Paula Abdul on a super 8 camera. Something clicked at that point. To this day I still have moments where I have to remind myself that David Fincher shot “Straight Up” on a super 8 camera. That’s only half the story because he was putting 35mm lenses onto these cameras, but he was shooting super 8. For whatever reason, I’m sure for musicians it was that young kid who saw Fugazi come through his town and just said, “Oh my God. I can do that and I want to do that.” It all kind of clicked and I decided to make music videos.

Music Consultant:
It’s funny that it started with a Paula Abdul video, because, correct me if I’m wrong, but you really started out with seminal hardcore and punk bands. That was how you cut your teeth making music video.

DD:
Oh yeah. But there’s a three or four year gap before any of that comes into play. I was just a young kid, 1990s when I graduated, so that’s still the 80s. The 90s hadn’t started yet. I was still going down to L.A. trying to meet bands and shoot their videos for them. In 1990, you looked at the musical scene and there was Jane’s Addiction, Alice in Chains, but there was also New Kids on the Block. You’ve got R&B groups and vocal singing groups. It was all on the charts at that time, so the musical landscape was very much what it is now 20 years later. At that time, I was meeting people who were in rock bands and people who were in three-piece harmony dance groups, I was meeting rap groups that were kind of Arrested Development style. That was 1990-1992. One of those bands got signed to MCA records, and they saw my little video and said, “We liked it.” Guys named Randy Philips and Arnold Steeple at MCA called me in and said, “We liked your work” and gave me a band called Brotherhood Creed, a rap group back in the 90s and a rock group called the Beauties. I liked all kinds of music and watched all kinds of music videos, so for me, I was making music videos. I couldn’t care less. It was great. I didn’t begin to impart any kind of cool or identity until much later. I was meeting people and A&R people and people that had done everything – managed, done A&R, etc. I was meeting people at different times, and a guy said, “Hey, I’m really good friends with a manager for this group called Kyuss. You should do their video.” I said, “Great” and went out Palm Desert and met Josh Homme and those guys, and next thing I knew I was shooting a Kyuss video. That meant nothing though- at they time they were just another band – just a heavy, grungy-sounding band. I did that video, but then it changed to get to the punk part, and I don’t know the exact date, but I remember the day. I was watching MTV, and I think I had just finished the Kyuss video, but it was still in post. I was watching MTV and realized that something just changed on MTV. I saw a director’s name. I remember seeing “If I Ever Fall in Love” by Shai, and “Director: Ian Fletcher.” That was ironic, because Ian went on to become a mentor of mine. Not too long after that, the Kyuss video got on Headbangers’ Ball as the last video. That was when Headbangers’ Ball was midnight to 3 a.m. It was the last video. I couldn’t even stay awake to watch my own video.

Sometime later, Fletcher from the band Pennywise saw that video and saw my name and tracked me down. He said, “Hey, I’m on this label called Epitaph Records, and in this band called Pennywise.” Actually, he tracked my dad down. I saw my dad, and he said, “Hey, this guy Fletcher from Pennywise called. He called, and I had a good talk with this guy.” I went down and met Fletcher, and punk was about to break, and Pennywise was a pretty punk band, if not the punkest band at the time – not by success per se, but maybe by success because they were big. Green Day hadn’t blown up yet, the Offspring hadn’t blown up yet; it was Pennywise that those bands were opening up for. Pennywise made a video, and all of a sudden all these people were saying, “Well, Pennywise made a video, so I guess it’s not un-punk to make a video, because Pennywise did.” So now all of a sudden I was the “it” guy, because people go to the person the other person used. It’s the same with making records. Then everyone started calling me, and I had nothing to do in life because I was young and trying to be a filmmaker and be a new video director. So I was spending time at Epitaph Records and meeting bands and going on tour with bands. As all the different subcultures of punk were exploding, I was sitting right there in the middle. I was one of the only guys actually doing it non-stop. When I got there, I was raised on all things video and all things loving David Fincher and Sam Behr and everything. Those guys were punk rock guys also making videos, and I was filmmaker video geek making punk videos. I just thought these should be big and grand and these should be movies, so maybe that’s what set those videos apart. I was the only guy there for about seven years doing every video I could get my hands on.

Music Consultant:
And that’s segued into a career for you. You’ve made videos with Mraz and Colbie Caillat and everybody.

DD:
I didn’t leave.

Music Consultant:
That’s a big part of it: consistency.

DD:
Yes. You stick around long enough, and you’re there.

Music Consultant:
You’ve now done videos that were probably very shoestring budget, and very extensive on the other end. What advice would you give to artists just starting out? What are some common mistakes you see with artists trying to make their first video? It has to be a very dangerous place to play, because before you know it, you’re spending thousands of dollars and you haven’t even started.

DD:
I would say, never make a video based on a treatment. I would always make a video based on somebody’s work. Have they done it? What have they pulled off? To this day, I’d say that to any musician. I’d say that to U2. I’d say, “Bono, seriously? Some of your videos are horrible.” Artists have this amazing ability to self-deceive themselves, because what they saw on paper may have matched something they got connected to. And then when the final piece gets done, they can’t even see that it’s not what it is. If you spend a lot of money, the self deception seems to be an even more fortified reality. You can’t accept that it went horribly wrong.
I don’t write a lot of treatments. Lately I’ve had to write a lot because there have been more people saying, “Please write something for us,” and I say, “OK, I’ll write.” But all the things I’m famous for I didn’t write for. They were the kinds of projects where someone said – usually Cathy Pellow, who is a phenomenal asset to music videos in general as a commissioner. Cathy would always say, “Just get on the phone with Darren.” So that’s Mraz, Caillat, Shinedown, Buck Cherry. I don’t have that many hits, but those hits were because Cathy Pellow got on the phone.

Music Consultant:
I’m sorry. Where is Cathy Pellow?

DD:
Cathy runs a company called Refuse TV and represents a couple directors, but she also does video commissioning for labels, so she was commissioning for Atlantic for a while. If a band gets an idea, that’s what I wanted to run with. If a band says, “I’m just seeing red for this song,” all of a sudden I’m thinking blood and communion wine and red. And ideas start flowing. If that’s all an artist has, then I can build off those ideas and bring something to them that’s fresh. They might say, “This is all about my grandma.” And then we’ll work with family and age and generations. But this idea of blind treatments with no names on treatments, you have to be kidding me. You would never do anything else in your life that way. You would never hire a doctor who wrote a treatment on how they think you should be cured. And you’ve got cancer, and the person says, “I’m going to cure you through lots of candy and watching movies.”

Music Consultant:
What steps would you recommend groups take to prepare before they even sit down to talk to a director? Does there have to be a specific vision? What do want people to have thought about before getting to your doorstep?

DD:
That’s going to depend really on who the artist is. There are some artists who are good artists and some that are bad. There are some artists that are deep and some that are not deep. My approach for as long as I can remember – and it happened pretty early on – is that I believe a music video at its best should be an extension of the song/an extension of the artist. With that approach, if the artist is knowable and personable and can communicate beyond what he has already communicated, then you have a good base. Sometimes you sit down with somebody and realize they are just in it for the scene. They’re not deep and not going to last, and there’s not much to extract. In that situation I’ll just make the sexiest performance-based video I can make to help these guys live out their fantasy.

Music Consultant:
What about advice for the people that may not be at the point where they can do anything but something on their own? Are there DIY things that you see in videos that you see that you can’t believe someone did that people should avoid?

DD:
I’d have to categorize how I would answer that. I don’t mind when a really bad video gets made for a really bad band. New director, new artist – they’re growing together. Anything worth doing is worth doing badly. I like that. Everyone is so afraid to be bad. The arrogance and the ego that people think they can be good right out the gate is beyond me and blows my mind.

Music Consultant:
Even simple technical things though, as simple as “I see them using this handheld and it’s shaking.” What is something that’s so cliché that no one should ever do it? I can only liken it to being an A&R guy and getting a band photo of four dudes standing in front of a brick wall.

DD:
I think they should avoid thinking they are worth anything. As long as you avoid that, you’re fine.

Music Consultant: How would that thought come through in a video?

DD:
If Band A is really good, and they go looking for someone to make a video for them, and once again the person that gets to make the video for them has nothing to show, or what they do have to show is probably what their video is going to look like. If the band makes that decision, I say stick with it and live with it. If you can’t tell it’s a bad video, it’s like someone wearing a really bad outfit. I don’t know what to do when I see someone wearing a bad outfit. But sometimes a person can wear such a band outfit but be so cool that it doesn’t matter. Sometimes it just doesn’t matter. I don’t think it matters what kind of video Coldplay makes at this point. People love Coldplay. I don’t think Johnny Cash could’ve made a bad video. But mediocre band, mediocre director – you have to take what you can pay for, and take it if someone makes it for free. No such thing as a free lunch, no such thing as a free video. It’s going to be a free video. To the person making the video, I’d say, “Great, you made a horrible video. Now make another one, and another one and another one.” If I’m not on a project I shoot almost every day of my life. I film something every day. I know I’m a filmmaker because I film every day. 9.9 out of 10 people I met that say they are filmmakers are not filmmakers. If I play basketball, I’m shooting free throws every single day of my life. I get that there are people that like to film and make videos and that do make videos, and if I met them and could get into their heads, I could tell if they were filmmakers. Filmmaking is the new accounting or the new web designing.

Music Consultant:
So you find there are very few are professionals out there?

DD:
Very few people are going to keep doing it and care about doing it. It’s just like bands. There are a lot of “bands” out there, but only a couple real bands. I don’t want to get caught up in all this Tony Robbins culture: “Tell me what I have to do. What is the secret? What is the tip? Give me the Oprah ‘You can do anything if you try.’” That’s a lie. That’s the biggest line of bullshit I have ever heard in my entire life to tell kids they can do anything. You can’t do anything. What are you talking about? Have you been to Cirque de Soleil? You can do that? No you can’t. There’s a great line, and my kids and I always quote this. One of our favorite films is The Incredibles. And there’s a line of The Incredibles, and I forget exactly what is said, but he says, “If everybody had superpowers, then nobody would be super.” When you say in terms of abilities, “You can do anything,” what you’re actually saying is, “Nothing is a big deal.” There’s nothing special about the person that actually does that, because you can do anything. Thanks, but you’re wrong. That’s not how the world works, and it completely destroys the unique abilities that people have, whether intrinsic or by hard work. No one naturally does what happens at Cirque de Soleil. They have to work to do that. So when you say, “Anyone can do that,” it’s not true. Now you have to assume all these things. We watch the Olympics and think anyone can do that, but no. You don’t tell people they can do anything. And what we have now is a culture that has been raised on everyone from Denzel Washington to PBS telling kids, “You can do anything.” So they say, “I love this, therefore I can do it.” But they don’t want to work hard. That’s what someone should’ve been telling them: “Work your ass off, and you may be able to pull something off. But if you don’t pull it off, at least you worked your ass off, and now you can go do something else.” Because at the end of the day, the currency and the actual stock that you want to have as a person is a work ethic. If you cultivate a work ethic, you can go do anything. You said it at the beginning of our conversation: “Who do you know that is just doing one thing right now?” But if you think about it, even when everybody did have their cushy jobs somewhere, we were always doing more than what we do. I don’t spend 90% of my time as a director. I spend 90% of my time as a hustler, manager, agent, a camera operator/geek/tech guy. That has nothing to do with directing. Now those that actually had a good work ethic and knew how to do more than one thing, in times like these are doing three or four things, because people with a good work ethic can work three jobs. If people stop wanting music videos, I’ll go do something else. I don’t live off a passion for filmmaking. It’s not my identity. I try to have a good work ethic, and if it doesn’t work out, I’ll look around, and as long as there is somewhere someone is hiring, I’ll go get a job there.

Music Consultant:
I do get the sense and have always gotten the sense from you that you very much enjoy what you do.

DD: I love it. I absolutely love it, but it’s hard and it sucks a lot of the time. It sucks less the older I get, but it has sucked most of the time. It’s a hard career. It’s hard doing six videos in a week. And that’s in my 20s. I would shoot two videos a day and sometimes five videos over Saturday, Sunday, Monday morning so I could get the one-day rental and get it back Monday afternoon. I’d pick up a camera package for under $2,000 on Thursday, and I would always try to get earlier pickup. I’d get it by noon and I could shoot a video Thursday, Friday, and two videos on Saturday into Sunday and get more pickup shots on Monday. If I could get two or three videos at $2,000-$3,000 per video, I just brought in $10,000-$12,000 in a weekend. If I keep my expenses in at under $6,000 I’m going to make $3,000. If I could do that twice or three times per month, I’m making a living and can pay my rent. I just cleared $9,000. I didn’t look at it as nine videos. It was four days of filming. Nothing’s really changed for me. I’m still filming all the time, and they’re not longer projects. I used to pick up my gear on Thursday and be done by Monday. When I go do a Jason Mraz video, I’m just filming for four days with Jason Mraz. I think now the time I used to spend doing four videos I now spend doing one video, so that’s why my videos may stand out more than other videos.

Music Consultant:
If you learned how to squeeze that much out of every hour on a low budget, I can only imagine that guys that did not have to scrounge for that existence would not be able to do that.

DD:
And that’s why the old guard is falling apart. They’re saying, “We’ll give you two locations.” I’m looking at Jason Mraz’s video, and they have helicopter shots, they’re shooting on three islands and have shots underwater. That wasn’t even a big budget video. I don’t compete with anybody. I just keep doing what I do, and I’m still low budget. Everybody knows I’m low budget. I’m the cheapest guy in town. I couldn’t care less. I’m the top of the C level world. But when all of a sudden the industry dips into the B world, the guy at the top of the C world are poking their heads up and hiring me and saying, “Well, he doesn’t do treatments, but we don’t have money, so I guess that’s a good give and take.” As long as I’m filming that’s what I do. That’s my job, and there are times when it’s horrible. Who doesn’t know that? That’s what jobs are. There’s a great line by Chris Rock. He says, “Don’t call it a job. I have a career. Jobs are the thing where there are too many hours in the day, and a career there are not enough hours in the day.”

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