Lost In Sunshine: Then and Now

Below is an article I wrote in 2011 about Lost In Sunshine that was featured on the independent channel, Film Courage. Since it's been a couple of years, I thought I'd take the liberty of adding on to our story and updating you of our status. Reading it reminds me of why I continue this journey, and why you should, (continue yours) too.

A lot of people wonder if Lost In Sunshine was written after my life. The short answer is “no,” but it certainly was a response to it.

The idea.

My life’s been a series of ups and downs, most of which I feel have contributed to the richness of what I am able to bring to the writing table. My losses have taught me there will be light at the end of the tunnel, and to laugh when I feel like crying. I no longer feel the angst I once felt from holding on to my past. I had an epiphany that if I knew how to rewrite my story, then I could somehow do the same for Lyn in Sunshine, in a different way. I felt deeply inspired to tell the story of a woman’s journey – however imperfect, crazy, or deluded she might be. After all, I think there’s a little bit of delusion in all of us.

Two years and 15 drafts later, I contacted script consultant and (my now)
producer, Lorie Marsh, to help me wrestle the story to its essence. With her
help, the full story budded its way to fruition in 6 more drafts. I then felt ready to carry it with me on a trip to LA. I was able to get the script in front of a popular TV actress in Hollywood, who vibed with the story, and was excited at the idea of playing “Lyn.” From that point on, I came back to Austin with a new resolve – I would make this film, no matter what. Lorie, who had been consulting on the project for months, offered to come on board as its producer. We slept on the notion. And the next morning - production-magic began.

Production.

We were planning for “action” by the end of 2009, but it hasn't turned out that way.

We were fortunate to have our first investor early on, who believed in the quality of our business plan, connected to the story, and the message we were trying to tell. And, though we had a fabulous crew committed and interest from actors, too, we needed more money.

We were disappointed and frustrated when things didn’t line up, but it wasn't in the stars, yet. We've never lost hope. We look at our project as a whole, and for every “no” we just say, “no, not that way.” Forward march.
So, what did we focus on? We spent the next year implementing a website, Lostinsunshine.com, to engage our audience.

Experimenting: Social Media and Transmedia.

From the time we decided to make LIS, engaging our audience early was always a priority. By creating a blog by our chronically malcontented heroine, Lyn, from the beginning, we hoped to let our audience have a sneak peak at the girl behind small-town Sunshine, Texas.

Soon afterward, I also began writing bits and pieces of a self-help manuscript-in-progress from our hero, Bob, a desperate optimist.

The idea was to create a world around our movie-to-be that would expand upon the narrative as a whole - a transmedia approach. In addition to a Lost in Sunshine Facebook page and several Twitter streams, we wanted to experiment with online fiction and other forms of digital storytelling (videos, short stories, interactive games). Indie movie distribution and consumption paradigms are shifting, thanks to surges in digital media capacities and mobile platforms; we want to have content available wherever our audience wants to consume it.

A year after we launched Lostinsunshine.com, we debuted a redesigned site on February 1, 2011. We learned that we needed to refine our interface and site layout to make it more obvious to visitors that there is a fictional, story-world section and a real-world, behind-the-scenes section. We recognize that our audience doesn't know the term, "transmedia," nor do they really care. But, a little interactive quiz on the Home page? (Maybe) That's fun, and memorable.

We're further embracing transmedia in our crowdfunding campaign on
IndieGoGo Feb. 1 - March 4th by offering donors opportunities to add content to the online story-world as our Perks

It's all a big gamble, the focus and efforts we've put into setting ourselves apart with our website "channel" approach for Lost in Sunshine. But, it's been something we DO have control over. And, it shows prospective investors or co-production companies what we can do.

Moving Forward: 2013

This is where the article stopped a couple of years ago. With modest Indiegogo success in 2011, and a lack of audience participation, we have since learned to rewire our sound. We've had many ideas about how to expand our story, and inject it into the hearts of those who might want to experience it, but there are many factors that come into making a vision a reality. For us, our restraints have mostly been monetary. Neither of us were born rich, or with a rich uncle, but we're definitely rich in spirit. We mustn't let go, if our vision's ever going to blossom.

In 2012, the talented and funny actress, Nadine Velazquez re-entered our circle and became verbally attached to LIS (again). My heart is really happy about that.

Our most current project, Fucked Up People, is a web series set to be filmed in 2014 on a much more affordable budget. It's inspired by the main characters of LIS, Lyn and Bob. Both are beset by troubles of their own making. Lyn is profane, unfiltered, and unhappily married and employed. Bob is warm, chatty, and a married father and gambling addict. The series will present “fucked up people” that Lyn and Bob must deal with in their respective lives, while uncovering how each of them are messed up, themselves.

We're in the final stages of solidifying the first season's script, and then we'll hit "GO" with our production efforts. In addition, we're working on turning LIS into an e-novel and making it available online. The idea is to give people a choice as to how they'd like to view our story world.

With this web series and e-novel, we hope to build, (re)connect and engage with our audience, and give them (more of) a reason to support our feature film.

Sometimes the efforts seem daunting, but if you've ever thought of giving up don't worry, you're just human. What makes you super human is your ability to hang on, even when it feels hopeless.

Hopefully yours,

Jentri


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The Secret to Finding Investors for our Indie Film(s)!

Hello, Sunshines!

Do you want to know the BIG secret to financing your indie project? Me, too!! So, come on you Crazy Hearts, as we figure this out together. Your perception of what you're doing is about to expand (if it doesn't, at least that sounded cool) 'cause I'm about to share with you a WEALTH of knowledge that'll hopefully take ALL of us indie filmmaking lovers there!

Over the last couple weeks I feel like I've had a string of SIGNS about the direction of our project, Lost In Sunshine, and connecting with like-minded folks in general. And that's what I want to share with you today, Sweets (I can never get away from these things, damn it).

With all the online stuff — social media (Facebook, twitter, etc), transmedia (not to be confused with transfat) and other networks I can't keep track of, I think it's important to explore IF/HOW we're really connected and what that means. So, if you're in it to win it, like Charlie Sheen, this post is FOR YOU! OK... bad example.

FIRST SIGN: EMAIL FROM MARKETING SPECIALIST LANDS IN INBOX
Recently, we were privileged to have a reputable marketing/distribution strategist comment on some of our LIS work. Ouch. That hurt. *Wipes dirt off pants.* One of the comments that stuck out to me was that Facebook was NOT a community. Could I have been wrong all this time? Were those interactive beings merely aliens disguised as humanoids responding to me? Where's my Aether Paranormal team when I need them? Joking aside, however, could this person be right? After all, that's what they do for a living. Could all these seemingly invested hours of what I thought was "connecting" with people, over our movie's message, just be meaningless in the grand scheme of making this film-dream a reality?

If online platfoms like Facebook are not considered an online "community" in the eyes of a specialist, then what is?

I felt frozen with confusion and frustration. But at least it gave me something to think about as I defrosted my dirty pants.

NEXT SIGN: PHONE CALL FROM AN ENTHUSED FRIEND CLAIMING TO HAVE THE SECRET
A good (film) friend called me out of the blue. He'd had a conversation with someone who's very successful in the film industry, who'd shared with him the secret to community building (and inevitably — financing a project) — get out there and network with the like-minded people who will vibe with what we're doing, support it (really support it!) by sharing our projects with others in their network(s). OK, you're pulling my leg... I thought we were doing that. But then again... I'm not even sure of what planet I'm on anymore! :)

THIRD SIGN: AN UNSOLICITED OPINION FROM ONE OF OUR VALUABLE LIS TEAM MEMBERS
A very good friend of ours, who's also a member of our LIS team gave us his unsolicited opinion, which really put everything into perspective (for me, at least). He believes that it's not a big time movie guy who'll invest in our project at all... but that it'll be a WOMAN, who connects with us personally, and believes in our talent, brains, story, team, and over-all message. Because quite frankly, I especially, don't have a proven track record, YET. I get that. I like that. I LOVE the idea.

So, I now had received one detailed email, one phone call, and one unsolicited opinion with basically the SAME message. Could it be a sign?

From these messages, it doesn't appear that financing our film(s) will happen from any online social hook up (although we never say NEVER!). Sure, the online networking part is great, useful, and at times — seems really wonderful & relevent, but if we're looking to finance our films (outside crowd-funding) then we need to be making real (hand shaking) contact, and not just from outter space (however, if an alien finances your film, I WANT TO KNOW!).

Here's a great, inspiring article by Donald Flaherty on filmcourage.com that I feel best describes the intense longevity of the process we must endure if we wish to finance our passion projects.

If you live in Austin, Texas, here are a few women-oriented (sorry, guys!) networking sources to check out, thanks to my enthusiastic friend, whom I sooooo appreciate for this!

http://www.womenschambertexas.com/mm-austin.php

https://austinwomenintech.org/civicrm/event/info?reset=1&id=34

http://www.txconferenceforwomen.org/

The secret to financing your film is that there is no darn secret! Follow these simple steps, and keep rockin' the frack on to your favorite tune (AKA your story/project/brain child).

1) Get your ingredients together, hot cakes! Unborn babies have to eat, too! Make sure your story is solid, and that you have a tight business plan with talent (on board) to boot! Do you have your script/info ready to hand out at all time on a USB flash drive (I'm getting mine ready this week!)? ;)

2) Love your (heart) song. Believe in what you're doing, because there are plenty of people out there who'll tell you the myriad of ways it can't be done.

3) Turn off your computers occasionally, and turn on your game (AKA social skills)! It's about continuously getting out there and connecting with folks who share your enthusiasm, passion (for life), and interests. Ask yourself, who's actually going to be watching this movie I'm making? Then go out there in the universe and find a way to find them!

Turns out, that may be what we've been missing. When's the last time you left your computer to socialize with a group of people your movie would intimately connect with?

That's what we're doing (more of) this year, and with all our friends for SXSW this week! Make any time the right time to get your in-person connection(s) on! Besides, there's no substitute for a real hug or hand shake.

Happy shaking! J

Need a boost, my indie friends? Get out fabric, it's time to make your quilt!

This one is dedicated to all my indie artists/friends out there who are giving it their personal best, and still struggling with being/feeling "OK!" YOU WILL BE OK. I WILL BE OK. IT WILL BE OK! I've needed to hear it before, and this is my turn to say it back to you!

Sometimes ya just gotta get through the day, and meditate on what you feel you need to do better. Then get off your cute butt the next day, and start doin' it!

It's a hard gig, but no one wants to hear it. What other job do you perform where working for free 10 years + is totally accepted?

Think about it... how many times have you (this includes me!) asked or been asked by someone to work for no compensation? It's totally acceptable, because we're all trying to be a part of an indie-patchwork community or project where we can eventually show off our best quilt work, be noticed, and feel some sort of accomplishment or gratification for all the sweat equity.

But when does good become good enough? If you're like me, you've thought this numerous times! Ya gotta get OVER IT. OK, perhaps that was a note to myself... busted. Fine.

With modernized technology, and the new age transition with film and how we view it/buy it, there's so much competition, even the best educated guessing seems more like "guessing."

What about those times when we do our best, and our best doesn't translate to "good enough" in other people's eyes? That feels pretty shitty, doesn't it?

So, does that make us bad artists? Should we just give up on our dreams because of a bad review, or a harsh reaction to our work? HECK NO, SUNSHINE!

YOU'RE ON YOUR WAY! It's part of your patchwork!

If we're willing to throw in the towel that easily, we should, indeed, choose another field. And that wouldn't be as FUN, now would it? :)

It seems that it's harder than ever to get in front of an audience - a specific one, that is. But you're not alone! OK, maybe you are (sometimes)... but you've got my support & a lot of others. ;)

What's even considered an online community anymore? Sometimes I feel swallowed up by how many networks there are to keep up with, and what my real pay-off with them is anyhow? Don't get me wrong, I enjoy "networking" and seeing other people's indie projects progress. Some results, I can even see with clarity — the opportunity to meet industry people who share similar interests and want to support others. Plus, I learn a lot from peers on occassion. How else would some communities even know you're alive, right?

But it's the several hundred others that's impossible to keep a dialog going with. Of course, if I were famous, getting paid to do it, or financially wealthy, and didn't have to work 3 jobs to survive, I might be able to do this all day, (i.e., MC Hammer) right?!!! Then I could REALLY be on top of my social networking game!

Where's the reality in there for all of us normal folks trying to make it happen using these tools, too?

We sure can dissect why a project didn't do well, (I see it all the time — in nice remarks and some not-so-nice online) but where's the early on detection? Where's the doctor's advice before it turns terminal? We can dig, read, follow others, do research, or ask for advice, sure. But, the successful people are busy being successful. And famous people don't have to keep a "dialog" with anyone. Everyone already cares about what they have to say, right, Oprah?

So this is what I think...

If you can do the social media thing, and do it sincerely with some consistency, Sassy pants, you'll be better off than NOT! But don't get hung up when you don't get the responses you want from others. And when you do get a response from a busier-than-life industry professional who took the time to respond to YOU (that you didn't have a good friend connect you with) then just be grateful. If you're watching when one person deletes you from FB or T, then you're not focusing on the right stuff. Furthermore, if your project sucked as much as you're lead to believe by that one IMPORTANT person, then you'd probably have never had the opportunity to be in front of them to begin with. Huh. Ever think about that?

The reality is based on your perception of you, not them. Do you think you're doing the best you can do? If not, what do you have to do to make yourself better? Focus on that, always. Focus on creating great art, and the rest will follow...

With love, respect, and a strong desire to keep improving & moving forward - Let's ROCK this thing! What other life (you know about) you got? :)

Jentri

Why should people stay tuned to watch Lost In Sunshine?

If the film is good, will the fans spread it around?

ADM Videoblog #70 -- "Social Media Marketing: Is It Even Worth the Effort?" from Adam Daniel Mezei | ADMTV on Vimeo.

Mezei asks, "Where's the edge in the social media marketing?" What a great question... I'll try to think of my own answers for the next post!

You can dream it, but can you plan it?

It's easy to dream. It takes courage to follow a dream. And business sense to develop a smart business strategy to execute after post production.

Here are some (beginning) questions to ask yourself:

What makes this film stand out? Who's its audience? Why will movie goers invest in seeing it? What's my business plan after making it?

When I began my film journey with LIS I can honestly say that I had absolutely no clue about the 'business' side of things. Not really. I come from a string of filmmaker friends who thrive on late night brainstorming sessions, finding good deals on equipment, and whose motto is to just shoot it however we have to! Nothing wrong with that, it's quite creative in fact, but we had never (really) SOLD anything. That's the big difference we're looking at with LIS.

After my front line experience with co-producing several Aether Paranormal documentaries, building a solid brand and audience, and spending countless days experimenting with social media, I know that putting yourself out there is not enough, if you're wanting to profit financially.

More questions to ask:

What's the incentive for an investor to invest in this project? Is it a low-no risk project? If not, how can I make it less of a risk? Do I have connections to well known talent? Do I need an agency rep?

Lost In Sunshine producer, Lorie's, understanding of post survival was key in our BP. When we first decided to make it together, I remember her saying that, "anyone can make a movie... sure, we'll make it... but we need to make sure we have funds to do something with it." I'm writing from memory, but you get the picture.

More to contemplate:

Am I focused on making a movie for the buyer(s) (distributors and/or studios)? Am I focused on making a movie for my audience?

Ted Hope makes a great point in one of his latest posts, Simple Thoughts on a Big Secret. He says, "I am dismayed by those that don’t recognize how irresponsible it is to just promote or adopt a “build it and they will come” philosophy."

Lorie was so on the money. Asking for big bucks is really a (different) ball game where you have to prove yourself all over again. Indie film producer, Jane Kosek, describes the life of a producer as constantly negotiating. She says, "a film is a business. And negotiating is an art form." (read more)

After an in depth conversation this morning with a person, whose company specializes in providing seed money for premiere projects, some ideas we'd been considering for LIS were clarified.

I'm learning about the power of being able to adapt, and adjust to the circumstances of our project, rather than hanging on to an old way.

If you're not where you thought you'd be -- don't give up. Use the unexpected time slot to reevaluate your business plan, pick brains, learn, and continue to grow as an artist. Be prepared for the Good that awaits.

But don't just rush to have a plan. Take time to prepare a smart one -- all the way through. People respond to smart, even if it's giving you an hour of their invaluable, precious time.... because they know you care... and they were there once, too.

Avoid People who talk (too much), know your film goals, focus on true love, and don't use the "S" word.

Hi, my lovely (film) friends!

Today, I want to talk about our true love(s), warn you about people that, 'just talk' so you can perhaps save some valuable time, and encourage you to discuss your film goals.

People talk so much sometimes, I'm surprised they don't leave their jaws places. Just to rest.

Words are like love in a relationship. They mean something. They're the most powerful thing we can put together - a group of words to evoke emotion. But I think they get devalued when there's a lack of action behind them, like any relationship - Love's just not enough. There has to be understanding and trust, too. Not all this song and dance around the heart of what's important.

So no song and dance today - only love...

I can't tell you how many hours of my day have been wasted away just 'talking' to people (you know where) about 'what to do next.' Similarly, I find myself at the mercy of the social media phase taking over the way we do business. I read an interesting article today about social media and the over-use of the word, and how that may adversely effect us.

In the end, I just want to (write AND) make my fucking movie. I want to make movie(s). I want to create a moving picture. How many ways can I say it?

But it's not (always) that simple. Depending on what your goals are, the answers may vary as to how you conduct your business.

Here's a really great article by, Jon Reiss that my LIS producer, Lorie Marsh, pointed out to me last week. We had a great discussion about where we are with our own goals and how that might match up, and if it really matters that they match up. To a degree, of course it does! We're partners. We're making a movie together.

The big question, as Lorie reassembles our business plan accordingly to more accurately reflect necessary changes, is what kind of movie are we going to make. By that, I mean - budgetarily speaking. We've determined, with the help of our amazing (however, maybe temporary!) line producer, Megan Gilbride, that we are not an ultra low picture. We compared the ultra low budget with the moderate budget, and so on. With the LIS story and its number of characters, we simply can't be ultra low without compromising our story in some capacity, which neither of us are willing to do. And if we are moderate, we would have to use recognizable faces to make back money.

The deal is this - you can have a DIY POA if the budget is in the right, sweet spot. And that alone is still challenging to recoup. As soon as you move over the line of ultra low, movies require recognizable cast on some level to recoup costs. There are exceptions, I know, but today I'm not talking about those. This is just logic we're dealing with, really.

And back to social media (sorry, don't know how else to say the "S" word, YET) might be a valuable tool for very low budget projects (such as my other team's Aether Paranormal documentaries) to recoup some kind of costs, but we can't count on it to help us make back a million bills (not saying it won't help spread the word!). Now, a hybrid version (what we currently are) seems to be hard to sell to both the investor and the audience. SO, where does that leave us... under a million? Over a million? And what does it mean for our production as a whole? What type of mental investment should I put into the time consuming world of social media, if that's the case? See where it gets complicated again?

A producer's job is never easy, or done. RESPECT. And for all the newbies out there (like me) I encourage you to keep going and do your thang! Ain't nobody gonna do it for you. Nope, not even the ones who talk about it all day. Let me rephrase - especially the ones who talk about it all day. If they're talking ALL DAY about what they/you should do, that means they're not DOING. Your ego(s) will slowly dissolve with each "no" (hopefully), it will hopefully empower you instead of anger you, and you'll learn, as I am learning, what a humbling position this is to be in - to make movies, successfully.

I don't want to end on a seemingly subjective note, (success) so it's important for me to tell you that I don't believe in failure - only the results we obtain from trying. and trying. and trying again. Until we reach our goal, and want to do it all over again.

May you keep trying until you reach your true love.
Peace, Jentri

Content, Audiences, Social Media (and why it matters)

I read a filmmaker magazine article online today that really inspired this post.

I'm a newer indie filmmaker, and while I haven't had the years of experience in the biz that some have had, I follow seasoned indie filmmakers/professionals, went to film school, create my own material, practice using the new social media tools, and I am indeed a movie goer, which makes me kinda qualified to respond to this. :)

I think developing content should be the main concern when you're developing content. The foundation of any good project has a solid script. I also think that audiences should be developed before the film is ever made, and here's why. If the person who seeks the extreme indie experience that (supposedly) most people won't 'click with' then that person's material should be able to be found, regardless of their appearance at a film festival or otherwise. In other words, creating audiences, and making the material accessible to them seems more relevant than being resistant to conformity (which I'm not suggesting you do!) or change. That way, the small pocketed audience can at least find it.

Who knows if we'll ever figure out a definitive, new, best distribution model for ourselves, or if we should, but if we do, what's so wrong with that? If I want to make movies for myself (and sometimes I do) then I can happily do that. But if I'm asking others (filmmakers) to join me on my ride, others that must eventually make some money to survive, and someone else to pay to see it, why would I thrive on a narrow audience? Just because someone in the indie world writes something that a lot of people (might) want to see, doesn't mean they're narrow or unauthentic, does it?

Just so this isn't misconstrued, I feel the need to elaborate a bit here... I do believe we should determine our audience before we make our movie. That doesn't mean an audience will dictate what I write as an artist. If I write something for myself then that's great! fine! wonderful! But if I write something that might appeal to a larger audience, perhaps I'll have a chance at selling it, or finding investors for it. Hell, if I were rich, I might want to make those lower concept movies all day! I mean, what's the point of making something that no one wants to see, unless of course I know that in advance, and I decide to make it anyway for my own satisfaction. It might even surprise the masses and take off - see a theater - but that would still be an exception, wouldn't it?

I think that the real reason people don't see innovation, isn't because it's not out there or appealing, but because they're subjected to so much garbage floating around, it's not hard to see the difference. While I'll agree that the non-mainstream should be embraced, in the same breath, I wonder what that really means, too. Does it mean acceptance of some sort? Or just among the artists who create it? Acceptance seems to be the opposite of what the true visionary (indie) operation suggests.

Who's to say that us indies can't make something authentic, that touches the masses, and hopes for a broader audience (so our hard work literally pays off in some capacity) no matter what the subject matter. If I write something that doesn't speak to a lot of people, should I not tweet about it? I think we're underestimating the involvement/response(s) from those whom it does/could speak to. Just because they're of a different flock, doesn't mean they don't want to be engaged that (social media) way.

In example, over the past two years, my Paranormal Productions team has been working on expanding our audience with our Aether Paranormal brand. I say brand, not because we aren't real paranormal investigators, but because that's what people see first. I'm not naive to the idea that those are not all necessarily our true fans, but they're interested in what we have to say, and I do see the growth, the slow commitment that others are displaying towards our team. More people are watching our (FREE) videos. We know that, while there's a select group, there's a huge attraction for those who are different and want to make that connection. So, they join us on twitter, facebook, myspace, youtube, vimeo, etc., and we're in control of our product. Eventually, we want to make money doing what we love, and have faith that our dedication to our brand will allow us to do so.

Similar ideas ring true for Lost In Sunshine. Lorie and I have been experimenting this past year with writing blogs 'in character,' creating contests, developing new LIS channels, and using our website to interact with our (growing) audience via our show.

In the end, indie artists have to do what feels right for them. But I urge those who are in the middle of this new world emergence to do everything they can to be heard, while remaining authentic, so they don't get lost in the shuffle.

The great part about social media tools are that they're free (for the most part). All it takes is time, and us indies are already used to legwork. A few more miles down the uncharted territory lane won't kill us. But it could help us... where before these options were obsolete. But the beauty is that we only create the space which we want to (co)exist.

If someone is going to gravitate towards our film's topic, I don't see how social media tools would hinder a genuine response. Perhaps it would generate a 'different' type of crowd, but who cares! Perhaps it will attract an unexpected one that just connects with it, or your followers will understand it/you better!

Perhaps it's less about trying to please the masses, and more about simply making ourselves available.

It's inspiring to talk about (what could be) groundbreaking material, and yes, it's sad that some solid material may not see daylight because of this new social media direction. I kinda feel, in my short lived filmmaking experience, that it's always been this way - if indies didn't have to figure this new age of development out, like the gatekeepers, there'd be something else. But it's also liberating to know that we, indie filmmakers, have the freedom and opportunity to exercise and experiment with our own film culture and social media tools to create our own unique path, rather than have it dictated for us.

Maybe we should just embrace 'what is' instead of worrying about what could be.

"This above all: to thine own self be true, and it must follow, as the day the night, Thou canst then be false to any man." - Polonius in Shakespear's Hamlet

(thanks for this today, Kimberlie!)

Thanks for reading. With love,

Jentri

Filmmaking: Why he did it. Why I do it.

A friend, Misti, forwarded this article on to me today (thank you!). I was happy to learn that other filmmakers are seeing the value of being intimate with their audience and taking risks (if that's how you view it). After all, filmmaking is an intimate experience, really. Why not allow your supporters/viewers to share in that wonderful, chaotic living room space? Some people will never get the opportunity to otherwise learn or appreciate what we do in our (behind the scenes) crafts.

That is a direction we've always hoped to emulate with Lost In Sunshine - creating a wide open space, free for all to explore, interact, share, and grow with us. If we're lucky, our true fans (as Ted Hope often refers to them as) will be there in the end, supporting us on our journey to expand and eventually, yes, even profit from!

I mean, you can scream your ass off, but if no one is listening it doesn't matter, does it?

Which leads me to my next thought on why I do (and will continue to do) what I do. All the blogging, youtubing, posting pictures, videoing, participating in social (media) interaction (i.e., twitter, facebook, myspace, etc.) is a chance for me to connect with different groups that gravitate to different spaces for various reasons. Perhaps they learn through video, or rely on friends to navigate them... maybe they just like to tweet occasionally, or maybe they just want good old fashion words. Whatever it is - I want to be there. In fact, I'd go as far as to say it's my job to be there - as an indie artist. Who else is going to do it for me? My assistant? (I'm laughing really hard right now).

So let's get down and dirty for a second. Let's get the grit outta the way, so we can be inspired again! 'Cause it's easy to feel yucky and unappreciated when things aren't seeming to go our way. After all, filmmaking is fucking hard work (excuse my language, but there's no other perfect word!). There's no easy way to make a film, contrary to what anyone reads about in a magazine or is told by a friend that was maybe an extra in a movie... once. You don't make films unless you're completely in love with the fabrication of them. I have yet to meet a person in the universe who makes films 'just for money.' If they do, there was a long time in the making, where they did it for love! Trust me!

But why do we love it so much? It's not fame, and it's hardly money. Sometimes it's downright exhausting. Sometimes we feel defeated and drained by everyone and everything. Maybe we can't get financing when we need it. Maybe someone with a stupid loose mouth pisses us off, and all we want to do is (however mean, but true!) stuff a burrito in their face so they'll shut up and stop distracting us from our vision. Sometimes we have 2am call times, and barely get to see our families. Sometimes we forget to eat, or our stomach's in knots over a decision someone made to do something we haven't had time to know if we agree with YET. Sometimes we are denied sleep, work for cheap, and eat cocoa pebbles to survive. Does it sound like I've done it before? :) If you're a filmmaker of any sort, YOU'VE DONE IT BEFORE, too!

So what? We get to do what we love, and that's pretty wonderful. PRICELESS. And, it's (as Shad's dad would say) stinkin' fun, too!

The next time you feel like complaining, or going in a hole somewhere and dying (there are certainly days I wanna!), ask yourself this: Would I rather be doing something else? An office job perhaps, where my legs are cold in the summertime, so I have to bring in a mini portable heater and wear skirts & heals to impress my boss? Or a sales job where the chances of making a living are equally as challenging, but a calculator's my best friend? Does it sound like I've done this before? Hey, it's for some people, I know! They're delighted (and meant) to do it- and thank goodness. 'Cause we're not one of them. Deep down, we both know the truth - we thrive on people telling us "no" because it creates a challenge. And us Indies adore a challenge! I haven't met one indie anything that isn't passionate, and hardworking when it comes to their heart's mission.

So stop complaining about how your life is sooooo bad (I see it all the time posted on FB and twitter) and just take a nap. When you wake up, ask yourself the above, wipe away any dew, stop feeling sorry for yourself, and get back to work. That's what you really want to do anyhow!

Film (work) is for the soul. And being a soul survivor, you know - that to just keep going when things seem really shitty - is the only way to survive this business they call show.

Now go on, knock 'em dead!

With passion, love & hope,

Jentri