As Xazmine prepared to rehearse as Noelle for Concrete River, she stopped for a moment to ask how she could share about the project on social media. She took a quick video of the room, smiling and bringing the energy of excitement. And then was immediately prepared to work as an actor.

 

This was not done in an inauthentic manner. She simply understood the assignment:

 

To do the work and also share it whenever possible.

 

The professionalism and ability to switch between two worlds struck me. She was both an artist and promoter. She seems like someone who really gets it.

 

I talk to many filmmakers who give their all in creating the work. But either shy away or get annoyed at the idea of having to promote it.

 

And musicians have never had this problem.

 

THE FILM VS. THE ARTIST EXPERIENCE

And I would also point out that Werner Herzog now has an Instagram where he pushes out content that is very much him.

 

People want to follow and support people they feel they can trust. And as filmmakers, we need to think of social media and promotion as a method of building up that trust. We are leaving audience, career, money and impact on the table when we don’t do this. Even while we are working on set, we can have someone ensuring that plenty of stills and video are captured. We can do our part to help the audience get to know us. Musicians understand they have to perform and promote. But this still doesn’t hinder them from being artists that are true to themselves.

 

Even a small musician realizes they need to build a team to help promote them. Filmmakers often don’t do this because we are thinking the work will promote itself. We build a team to help create the film. But not a team to help create the world around us.

 

And I think we can build a team of filmmakers who all support and promote each other. Where they are the director on one project and the editor or cinematographer on another. But everyone makes sure to share about the project and the filmmaker. While every film needs resources and a team to be made, we need to also cultivate the team to uplift the people. This is what the music industry has understood and allowed them to survive the technological storms that have hit them so hard.

 

When I made Breakaway, I spent a lot of time documenting the process of raising the money and making the film. But after the initial rush, I dropped off. I edited both the film and was working full-time as an editor. So I was exhausted and would only post an update here or there.

 

In hindsight, I would have set aside some more time to talk about the process of post-production. But also the themes and my own personal goals with it. And also, try to build a team of people to keep the activity up as well. Whether it be my cast or my crew, just keeping the conversation around it active.

 

It still came out very well and I’m very proud of the film.

 

But I lost the momentum that could have been so much more.

 

The Lightbulb Moment

Talking with Xazmine’s manager Julius, the music industry has changed. And what he does now to build up an artist, was a lightbulb moment for me. He was describing what distributors and marketing companies have been telling independent filmmakers for several years now. We need to be out in front, thinking about who we want to connect with and how to enable them to see our work. This is a part of the process that we must embrace. Because if we want agency and control, we can’t leave that aspect up to everyone else.

 

Julius was not only telling me his plan for his artist. But the plan for all artists to actually have a chance at creating the kind of impact we want to see with our work.

 

Filmmakers have the false assumption that we eventually ascend to a place where we won’t have to think about marketing and distribution. That our names will be so large that it becomes someone else’s responsibility. It’s the equivalent of a musician thinking they will reach a point where they don’t have to go on tour.

 

Like it or not, the practices of the creator economy and music industry are now our blueprint. We have a skill set that is attractive to them. But we sometimes think we are better than they are. The reality is that we have much to learn from each other. From building up teams to market us to creator houses, we filmmakers can learn a lot from the successful creators and musicians.

 

And success is measured by using our creative interests to earn a living.

 

There is and always will be a compromise. We just have to accept it as the cost for being an artist.

 

If filmmakers want to thrive, we have to begin operating like the musicians of today.

 

A NEW FRAMEWORK FOR FILMMAKERS

Think about who the people in your team are and how you can all promote each other. Sharing the burden only helps everyone.

 

Record interviews with each other. Come up with concepts for sharing and execute them. Switch roles and keep creating projects. Make this an effort where everyone is supporting each other and we are all building up our careers.

 

I look forward to a time when filmmakers aren’t regarded as aloof artists. But as people whose audiences know and love. Not just for their work but for who they are. The audience trusts us and supports our work. And gives us the space to try new stories and even mediums. It’s one where we can operate as a smaller team and have a great impact. Where the larger companies are our partners and not opponents. Where we are nimble, self-sufficient and (most importantly) honest with ourselves and the people who support us.

 

I, personally, am making a commitment to be more forthright and intentional about promoting myself and my work. To look at every opportunity as a way to connect with people and build trust. To make it a habit to not just post my own thoughts and actions. But connect with other people and be helpful. I will show up as the artist I need to be. And not the one I think I should be.

 

So I can help the people I care about.