Podcast appearances and mentions of kelley dixon

Hawkins Wilson, a Texas freedman, was sold away from Virginia as a young boy. Time and distance did not dim his memories of childhood family and friends nor his emotional connection to them. Twenty-four years later, he wrote to his "dearest relatives" through the Freedman's Bureau, introducing himself to them, not as the boy they had known but as the man he had become. His letters, forwarded to the bureau agent in Caroline County, Virginia, remain in whole files, suggesting that Wilson's kinfolk were never found. Until one of them started a family tree on Ancestry.  And then - 155 years later – Hawkins Wilson's letters finally reached his descendants. For Kelley Dixon-Teeler and her mother, Alva Marie Jenkins, the letters of their ancestor have inspired perseverance and helped make sense of a journey of faith. Together, they share their hopes for the future, emphasizing the importance of family unity and ensuring Hawkins Wilson's legacy continues to inspire and connect generations.Watch the film:A Dream Delivered:  The Lost Letters of Hawkins WilsonVisit Kelley's website to learn more about honoring the past, preserving the legacy and forging a brighter future:Hawkins Wilson Legacy_______________________________________________Please rate and review this podcast and then share it with your family and friends.For ideas on how to connect more deeply with your family through family stories, follow Crista on Instagram @CristaCowan.

On this week's episode of Editors on Editing, Glenn is joined by Jennifer Lame.  Jen has edited such exceptional films as Francis Ha for which she was nominated for an Independent Spirit Award.  Manchester by the Sea for which she was nominated for the BAFTA, Eddy, and Independent Spirit Award. The Meyerowitz Stories, Hereditary and Marriage Story, for which she was nominated for an Eddy as well as Tenet and, Black Panther Wakanda Forever which she co-edited with Kelley Dixon and Michael P. Shawver.  Now she has crafted Christopher Nolan's epic, Oppenheimer. Thanks again to ACE for partnering with us on this podcast, check out their website for more. Want to see more interviews from Glenn? Check out "Editors on Editing" here. The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show! --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

On this episode of the Team Deakins Podcast, editor Kelley Dixon (OBI-WAN KENOBI, THE GOLDFINCH, BREAKING BAD) joins us for a conversation about all things editing. Kelley starts by sharing her experience working in the MGM/UA mailroom and delivering script pages to the editorial department where she quickly found herself helping cut scenes. Kelley later describes learning the potential applications of visual effects if money is no object and how that insight expanded her way of thinking when approaching editorial problems on projects with relatively larger budgets. We discuss how editing can be used to bring the audience into the state-of-mind of a character and how Kelley works with a director to realize their vision in the edit. Throughout the episode, we debate whether or not editing is an invisible art, and we contemplate our favourite note: “Can you just make it better?” - This episode is sponsored by Fiilex Instagram: @fiilexled

Editors - Kelley Dixon, ACE and Josh Earl, ACE The OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE have long been friends outside of the cutting room, but "Obi-Wan" is the first project they've shared.  5x Emmy-winning editor, Josh Earl didn't have to think twice about Kelley Dixon's offer to join the Lucasfilm series, ostensibly as her assistant even though he's worked for years as an editor.  Being a self-professed "Star Wars Nerd", Josh jumped at the chance no matter what his role would be.  As for Kelley, her plan was always to have Josh's creative editorial talents shine through during post; culminating in him sharing editing credit with her on the series finale and earning both another Emmy nomination. OBI-WAN KENOBI takes place ten years after the events of STAR WARS: EPISODE III - REVENGE OF THE SITH (2005)—in which the Jedi were purged with Order 66 and Obi-Wan Kenobi's apprentice, Anakin Skywalker, became the Sith Lord Darth Vader—Kenobi is in hiding on the planet Tatooine, watching over Anakin's son, Luke, when he is called on a mission to rescue Anakin's daughter, Leia, after she is kidnapped by the Galactic Empire's Jedi-hunting Inquisitors in a plot to draw Kenobi out.  This leads to yet another dramatic duel between Kenobi and Vader. KELLEY DIXON, ACE In addition to her Emmy®-nominated work on OBI-WAN KENOBI, Kelley won an Emmy, plus three additional nominations, for her work on BREAKING BAD (2008-13), and would go on to rack up five more nominations for her subsequent work on the BREAKING BAD spinoff, BETTER CALL SAUL (2015-17).  In recent years, Kelley has expanded her resume to include feature films such as THE GOLDFINCH (2019) and BLACK PANTHER: WAKANDA FOREVER (2022). JOSH EARL, ACE Josh earned his Star Wars "cred" long before his turn on OBI-WAN KENOBI, having cut MARK HAMILL'S POP CULTURE QUEST (2016-17).  But it was his work on the long-running reality hit DEADLIEST CATCH (2006-2019) that put five Emmy's on Josh's trophy shelf, right next to his Star Wars action figures.  Among his many other credits, Josh has cut shows like AROUND THE WORLD IN 80 WAYS (2011) and documentaries such as SKI BUM: THE WARREN MILLER STORY (2019). Editing OBI-WAN KENOBI In our discussion with the OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE, we talk about: Bringing something from Breaking Bad to Tatooine Making the jump from editor to assistant editor? Being on location in "The Volume" Synthesizing new sounds for the Sith Lord Intercutting with lightsabers The Credits Visit ExtremeMusic for all your production audio needs Subscribe to a low-cost monthly or annual subscription of Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

This is episode one of a special two podcast week on picture editing! This episode features an interview with editing powerhouses, Kelley Dixon and Josh Earl. Kelley and Josh bring their vast knowledge of editing to the podcast, having worked on some of the biggest television and films from the past 20+ years.They share editing responsibilities on the Emmy nominated Disney Plus Star Wars series, Obi-Wan Kenobi, and let us in on their process editing the show, including the thrilling finale!How do they choose takes? Are editors born or made? How do they collaborate on an episode, and so much more…For extra content, previews, and a whole lot more, follow us on social media.Instagram: https://www.instagram.com/soundstageinsiderTwitter: @SoundstageIn Hosted on Acast. See acast.com/privacy for more information.

On this weeks episode of Editors on Editing, Glenn is joined by Michael Shawver & Kelley Dixon. Michael has edited such outstanding films as Fruitvale Station, Creed, Black Panther, A Quiet Place 2 and Blacklight while Kelly has edited such excellent projects as Shameless, Breaking Bad, The Walking Dead, Better Call Saul, The Falcon and the Winter Soldier and Obi-Wan Kenobi, for which she received multiple Eddie and primetime Emmy Award nominations, winning the latter once. Now Michael and Kelley have collaborated along with Jennifer Lame to craft the emotional spectacle, Black Panther, Wakanda Forever. Thanks again to ACE for partnering with us on this podcast, check out their website for more. Want to see more interviews from Glenn? Check out "Editors on Editing" here. The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show! --- Support this podcast: https://anchor.fm/artofthecut/support

Hey everyone, the latest MCU movie - Black Panther: Wakanda Forever has now released in theatres! The lead up to this movie has not been the smoothest, with the untimely and tragic death of Chadwick Boseman, the need to rewrite a lot of the movie and some of the behind the scenes trouble. The trailers though, have been absolutely INCREDIBLE so the hype has definitely been building. I have finally gotten a chance to see it and this will be my SPOILER-FREE review of Black Panther: Wakanda Forever. Black Panther: Wakanda Forever: Directed by: Ryan Coogler Screenplay by: Ryan Cooler & Joe Robert Cole Story by: Ryan Coogler Produced by: Kevin Feige p.g.a., Nate Moore p.g.a. Executive Producers: Victoria Alonso, Louis D'Esposito, Barry H. Waldman Music by: Ludwig Goransson Cinematography by: Autumn Durald Arkapaw Film Editing by: Kelley Dixon, Jennifer Lame, Michael P. Shawver Casting by: Sarah Finn Production Design by: Hannah Beachler Costume Design by: Ruth E. Carter Cast: Angela Bassett, Letitia Wright, Winston Duke, Danai Gurira, Florence Kasumba, Lupita Nyong'o, Martin Freeman, Tenoch Huerta, Dominique Thorne, Michaela Coel, Mabel Cadena and Alex Livanalli Synopsis: Queen Ramonda, Shuri, M'Baku, Okoye and the Dora Milaje, fight to protect their nation from intervening world powers in the wake of King T'Challa's death. As the Wakandans strive to embrace their next chapter, the heroes must band together with the help of War Dog Nakia and Everett Ross and forge a new path for the kingdom of Wakanda.

Today on Art of the Cut, we talk to the editors of Disney Plus's “Obi Wan Kenobi” series. Those editors are (alphabetically): Nicolas de Toth, ACE, Kelley Dixon, ACE, and Josh Earl. Nicolas de Toth has been a previous Art of the Cut guest for his film Gunpowder Milkshake. His other work includes Hitman: Agent 47, Gulliver's Travels, X-Men Origins: Wolverine, and Live Free or Die Hard among others. He also edited the pilot of the Hawaii-Five-O reboot. Kelley Dixon has also been a guest several times on Art of the Cut including for her work on the film The Goldfinch and for her work on Breaking Bad and Better Call Saul. Kelley's other work includes the TV series The Falcon and the Winter Soldier, The Passage, Castle Rock, Preacher and Halt and Catch Fire. Kelley has won or been nominated for numerous Emmys and ACE Eddies. Josh Earl was brought onto the project as a First Assistant Editor to Kelley Dixon and eventually co-edited the final episode of Obi Wan. His previous editorial work includes the feature film Shepard, and TV series including Race to the Center of the Earth, Bering Sea Gold, Around the World in 80 Ways, and Deadliest Catch for which he won numerous Emmys and an ACE Eddie.

For some reason there seems to be this fallacy in Hollywood that someone has to “give you your big break” in order to make it in the industry, and in the meantime you’re just waiting for your big break to appear. The idea that you have to be in the right place at the right time, or worst of all, that you just need to have a lot of “luck” to make your dreams a reality (and you all know how I feel about the “L word”) must be a myth, right? Today’s guest is here to debunk that myth that success is about waiting for opportunity but instead all about making sure no one can outwork you, making sure you are ready for opportunities when they become available, and most importantly never giving someone the opportunity to tell you ‘No.’ James Wilcox is an African-American award-winning editor who’s edited such shows as Dark Angel, My Wife and Kids, Everybody Loves Chris, CSI Miami, Hawaii 5-0, Roots, Genius, and he’s recently completed Ron Howard’s new film Hillbilly Elegy, to literally name just a few. (Seriously, look up his IMDb page). What’s so fascinating about James’ path is that he’s made numerous transitions in his career including cutting news, comedy, drama, historical fiction, and feature films. In addition to such a wide variety of experience, James also sees himself as a pioneer for black editors and talks about the importance of providing mentorship to other people of color. In today’s conversation we cover topics like: How James prepares himself to be ready for opportunities when they are offered Why he sees himself as a pioneer for black editors and the importance of providing mentorship to other people of color The delicate balance of working hard and playing hard And the many stories of how he forged his varied and successful career path including how he became Ron Howard’s editor If you enjoyed my episode with Monty DeGraff, you’re going to love this one. James is talented, funny, and chock full of stories that give you an inside look at how to not only build a successful and inspiring career but also how to mentor others while leaving time and energy for your health and well-being. In short, James has mastered the balance of both working hard and playing hard. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: Early on James discovered that shortcuts didn’t work for him and that to be successful, “no one would out work him” A “double-edged sword”: How his relentless work ethic has been both a gift and a curse The story of how James went from wanting to be a doctor, then a baseball player, and finally, to becoming an editor. James got his first opportunity in the News business. The three skills needed to be a solid news editor: Speed. Creativity. Accuracy. These skills helped him down the road. Why James studied acting for 3 and half years when he moved to Los Angeles and how that was part of his journey to scripted television editing and directing. His mantra: “Don’t give anyone a reason to tell you no.” KEY TAKEAWAY: Always be ready and prepared for the next opportunity so when it presents itself you can seize it. His dad’s advice: If you’re thorough you can’t be denied. KEY TAKEAWAY: We all have to ask ourselves how do we get better at fostering diversity and opportunity for people of color in the industry? James believes there is a rapid awakening right now on a global level and the George Floyd murder has inspired activism and change. His passion for mentoring and supporting people of color is a big part of how he hires his assistant editors. One of the key skills his last assistant editor had that he values and appreciates. The unbelievable story of James getting to work with Ron Howard on the Emmy nominated series Genius and then getting to work on his new movie, Hillbilly Elegy. KEY TAKEAWAY: Don’t always expect your payoff to come from the thing you are investing in. What the Marshmallow experiment teaches us about patience relative to success. James’ advice to POC looking to advance their careers and make it in Hollywood. Useful Resources Mentioned: Ep107: Recognizing, Mentoring, and Promoting Diversity In Hollywood | with Monty DeGraff, ACE Ep114: Breaking Into (and Making It) In the Industry as People of Color | with Mirra Watkins, Ariel Brown, and Isaiah Cary Stanford Marshmallow Experiment Ep39: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 1) Ep40: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2) Our Generous Sponsors: Special thanks to our sponsor Evercast for making today’s interview possible. To learn more about how to collaborate remotely without missing a frame, and to get your real-time demo of Evercast in action, visit OptimizeYourself.me/evercast Guest Bio: James D. Wilcox, ACE began his editing career in Atlanta, Georgia in 1982. An opportunity with CBS NEWS in Los Angeles moved James to California where he covered events that ranged from Pope John Paul’s U.S. Tour and the 1984 Olympics to the Reagan-Gorbachev Summit. During his tenure at CBS, James produced and edited the Emmy Award-Winning documentary series, “Lip Sync” which exposed the 1991 Milli-Vanilli Grammy scandal. By 1999, James had transitioned into scripted television with a wide variety of shows including: Showtime’s “Soul Food”, FOX’s “Dark Angel”, Comedy Central’s “Reno 911!”, UPN’s “Everybody Hates Chris”, CBS’s “CSI: Miami,” “Hawaii Five-0” and ABC’s “My Wife and Kids” where he began his directing career. In 2016, Wilcox teamed up with Director Mario Van Peebles on “Roots” which was nominated for an Emmy in Outstanding Limited Series. Following the nomination, Wilcox collaborated with director Ron Howard on Nat Geo’s “Genius” which gained two more Emmy nominations for Outstanding Limited-Series in 2017 and 2018. That January, James took home the ACE Eddie Award for “Best Edited Miniseries or Motion Picture for Television” for his work on “Genius: Einstein.” More recent work by James includes the Netflix series “Raising Dion” starring Michael B. Jordan, as well as the pilot of “Filthy Rich” directed by Tate Taylor (“The Help”, “Ma”) which premieres this year on FOX Television. Currently, James is working again with Ron Howard and Imagine Entertainment, cutting Netflix’s “Hillbilly Elegy” (due for release in 2020). James is an active member of the Motion Picture Editors Guild (MPEG), the Academy of Television Arts & Sciences Picture Editors Peer Group, American Cinema Editors, and The Directors Guild of America. On his craft, James has said, “I strive to be the best and tell the story I’d pay to see. When I edit, I won’t settle for just good enough.” Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

So many working in post-production around the world are obsessed with making the transition from being an assistant to being an editor. But does the journey end once you’re sitting in the editor’s chair? Or has the journey just begun? Editor and director Susan Vaill, ACE (Space Force, Gray’s Anatomy, This Is Us) has been helping to answer these questions as a mentor to many in scripted entertainment in Hollywood, and she’s become so passionate about the subject of helping assistant make the transition (and stick the landing, so to speak) that she even recently lead an Editor’s Guild panel titled “Bumped Up: The Leadership Workshop for New Editors.” So what are the most important questions that assistants who’ve recently been promoted into the editor’s chair don’t know to ask? What surprises might come their way they aren’t prepared for? What politics should they be aware of? What soft skills are necessary to build relationships and get invited back to jobs in the future? And if you haven’t made the transition yet but you are oh so close!!!, then what differentiates you from other people vying for the same position (especially if they have more experience than you)? What can you do to stand out? NOTE: This interview was conducted shortly before the pandemic struck (early March, 2020), so as you’re listening keep that in mind as we discuss her upcoming panels and general networking strategies. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: The fun story of how Susan and her twin sister ended up in a classic Double Mint Gum commercial in the ’80s. Susan’s amazing origin story and how just ONE experience with deck to deck editing in high school gave her the power to “see the matrix” and recognize editing ‘tricks’ in films & television shows early on in life. How a documentary job 20 years ago directly led to her working on Space Force today. The pivotal moment where Susan realized she had a lot more to offer than what was on her resume. And how she leveraged her unique perspective, background, and personality to make her resume so compelling that it jumpstarted her career. Hot Tip: Inject your personality into your resume! How Susan’s passion and life experiences motivated her to spearhead the panel on moving from Assistant Editor to Editor called ‘Bumped Up: the Leadership Workshop for New Editors’. Why the most common question she gets at her panels may surprise you. What compels Susan to put on these panels and give back to people in the industry. How she thinks about the difficulty of Assistant Editors moving to Editor in the current environment where they aren’t really gaining the creative skills it requires. Why Editors have to be proactive about mentoring their Assistant Editors to get the next generation ready to be our peers. The benefits of making a habit of getting away and taking lunch together. Why it’s so important to create a really comfortable, safe working place of your edit bay. F.A.I.L. = First Attempt in Learning. NOTE: Susan’s panel is limited to 30 participants, but they’ll do them every 3 months. Keep an eye on MPEG's events calendar page. Useful Resources Mentioned: Ep69: Cobra Kai…Inside the Edit Suite | with Jon Hurtwitz, Josh Heald, and Hayden Schlossberg Ep85: Mentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACE Ep70: To Assist or Not to Assist...That Is the Question (pt 1) | with Chris Cavanagh Ep39: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 1) Ep40: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2) Our Generous Sponsors: This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: Susan Vaill, ACE, is an editor of both comedy and drama series, including This Is Us, Lodge 49 and the upcoming Space Force on Netflix. She has edited six television pilots and helped launch five shows in their first season. Born and raised in Los Angeles, Susan appeared with her twin sister Sarah in an ‘80s Doublemint gum commercial and the Hal Ashby film Bound For Glory. She studied film theory and art history at Williams College and got an MFA in film production at USC. After assistant-editing documentaries and feature films like The Last Samurai, Susan edited over 70 episodes of Grey’s Anatomy which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, in which Loretta Devine gave a guest performance that earned her an Emmy in 2011. More recently, Susan turned to comedy, editing the half-hour series Grandfathered, Me, Myself & I, and the upcoming comedy Space Force, created by Greg Daniels and Steve Carrell. She also edited the legal drama Doubt, the award-winning mega-hit This Is Us, and the critically acclaimed AMC dramedy Lodge 49. Two of Susan’s episodes of Lodge 49 earned spots on The New York Times’ and Entertainment Weekly’s year-end lists of Best Episodes of Television of 2019. In 2018, Susan was elected to the society of American Cinema Editors, and in 2019 she spearheaded ‘Bumped Up: the Leadership Workshop for New Editors’, co-sponsored by ACE and the Editors Guild, which she leads 2-3 times a year. Susan’s interests include golf and music-driven story-telling, and her favorite karaoke song is “I’m On A Boat” by The Lonely Island. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Better Call Saul editor, Chris McCaleb ACE has quite a track record with "fan favorite" hour-long dramas; starting with his role as an assistant editor on AMC's groundbreaking series, Breaking Bad.  Since his time on Breaking Bad, Chris has gone on to lead editorial duties on such shows as Halt and Catch Fire, Narcos, Fear The Walking Dead, Lodge 49 and, now in its fifth season, Better Call Saul. Chris talks to us about how even the best laid plans in storytelling can all be for naught.  "I think every editor has had that experience where you have a great script and you have great footage and, for whatever reason, it just didn't work out the way that everybody had planned or everybody had hoped. Maybe in production they ran out of time or they had to cut half a day because of some scheduling reasons.  And so I think you're always reinventing in the editing room. You're always trying to find a better way". Like every editor, Chris has learned some valuable lessons along the way and shares one of his favorites here on the podcast.  "The advice I always give people, which was advice given to me by Kelley Dixon, is that you've got to watch all your dailies.  Part of my process is to just watch everything.  Sometimes the best stuff won't show up on a script in the Avid.  It'll show up on your monitor as a look that somebody gives or the look that somebody didn't mean to give because they're so in the moment...happy accidents...those are the things I look for". And that's just scratching the surface of everything Chris has to say, so make sure to enjoy every minute of this edition of The Rough Cut! Here's the Media Composer Remote Options Guide. Subscribe to The Rough Cut for more great interviews with the heroes of the editing room! Email me your suggestions, stories and questions at matt@theroughcutpod.com or, even better, call and leave me a message at (781) 334-8369.    

This week Steve spoke with Emmy winning editor Kelley Dixon, ACE about editing the new film "The Goldfinch". From cutting shows like "Shameless", "Better Call Saul" and "Breaking Bad" Kelley has found huge success as a TV editor. What you might not know is Kelley also worked as a first assistant editor under Sally Menke on "Reservoir Dogs" and on "Good Will Hunting" under Pietro Scalia. "The Goldfinch" is Kelleys debut as a feature film editor. This week’s episode of the Art of the Cut podcast is brought to you by G-Technology and Filmtools.com. G-Technology is a leading brand for professional-grade storage solutions for the media and entertainment industry. Since their inception in 2004, G-Technology has consistently offered reliable, high-performance hard drives! If you are in the market for some new storage make sure to head over to Filmtools.com and check out the hottest product offerings from G-Technology. The Art of the Cut podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and tell an editor friend!

In this week's episode, Emmy-winning editor Kelley Dixon, ACE calls in to talk about her experience editing her first feature film, Paramount Pictures' The Goldfinch.  Kelley tells us about... The challenge of translating Donna Tartt's 800 page, Pulitzer prize-winning novel into a feature film How working on a feature compares to television Understanding how to serve the vision of the director while being true to yourself Being aware of when the characters are "aware" The power of profile shots, proscenium framing and pre-lap edits

Two weeks ago I released the article Dear Hollywood: We Create Entertainment For a Living...We're Not Curing Cancer, and it was shared over 3000 times in the first 48 hours. Clearly the idea of inhaling a deep breath of perspective resonated with thousands of people working not just in Hollywood but worldwide who are sick and tired of sacrificing their health, time with family, and their sanity simply for the sake of creating entertainment. Placing the blame on ourselves and accepting that we have all collectively encouraged a work culture that allows us to be treated like doormats was an idea I didn't expect to be embraced with open arms (I was prepared for A LOT of trolling). But on the contrary I received unanimous praise for this viewpoint. Furthermore, I was so proud of how many people were willing to take a small level of responsibility themselves for helping to dig the hole we're all stuck in now. But that article only addressed a surface-level problem: Those of us working in the filmmaking industry are willing to put up with ridiculous (and deadly)  working conditions that few other industries would deem acceptable. Therefore, the much deeper question becomes: Why? Why are we willing to silently work through lunch breaks? Why are we slowly killing ourselves one day at a time? Why do we feel terrified to ask for overtime, even if it's in our contract and we've put in the extra hours? Why do we feel embarrassed to take a fifteen minute walk in the afternoon to solve creative challenges? Why do we work 100 hours in a single week simply because "The overtime is good" despite it destroying our health and our relationships? Why are we okay watching our kids grow up via Facetime? After reading hundreds of messages, Facebook comments, and emails from "creatives" working in the entertainment industry worldwide, I believe the root of this problem is the following cultural mindset: We Should Just Suck It Up. We're "Lucky" To Be Here.   Oh my God...working in Hollywood is so glamorous! Many of our friends and families who are "business professionals" often envy us for doing something so "cool" that's seen by millions of people around the world. We're lucky to be here. When somebody asks what you do and you say, "I worked on the latest Mission: Impossible movie," they reply with, "Holy crap, that movie was so good. You got to work on that!!!" We're lucky to be here. When your former college roommate (and classmate in film school) who is now working in pharmaceutical sales excitedly asks, "Have you seen any celebrities?" and you reply with: "Yeah. I often have lunch at the table next to [insert giant mega-celebrity here] and the other day [insert mega-director here] was in my edit suite giving me notes," their jaw drops. They can't imagine doing something so fun with such "important" people! We're lucky to be here. Right? Right??? Bullshit. No matter the craft, guild, or area of expertise, if you have a successful career in Hollywood or anywhere else around the world in the entertainment industry... You earned it. Now it's time to start behaving that way. Calculate the True Cost of Developing Your Expertise I'll admit there have been more than a few jobs where I've caught myself asking the question, "Are they really paying me to do this? This is so cool, I'd do this for free!" There's no question a certain amount of cachet accompanies working in the entertainment industry. If you spent your entire childhood living and breathing comic books, for example,  having the opportunity to work on a Marvel project is undoubtedly a dream come true! Unlike many people who "settled" in life and became pharmaceutical reps, insurance salesman, or corporate accountants, we have the pleasure of watching television or making movies all day long. And therein lies the trap. The Hollywood machine preys on creative professionals who will do whatever it takes to deliver top quality work, no matter how unreasonable the deadline. And Hollywood gets away with it knowing we simply can't imagine doing anything else with our lives, we won't "settle," and we worked our asses off to get where we are. And most importantly, we know they'll replace us in a second if we speak up. So we don't speak up. And our quality of life (not to mention our self-respect) gets flushed down the toilet. https://youtu.be/essNmNOrQto Can you name any other industry willing to devalue their skills as much as "creatives" do? Before opening Pandora's Box and accepting the punishment, abuse, and often downright bullying that is "just part of the business," take a moment to calculate the true cost of the expertise you bring to your profession. How much did your college education cost you? Most likely you started your career on day 1 with six figures in debt sleeping on someone's couch and subsisting off Ramen noodles. How many years of spec work, low paying jobs, bartending gigs on the side, and months of unemployment did you endure so you can now "live the dream?" If you don't believe taking low-paying (or free) work is part of the path to success, Just ask editor Alan Bell how likely that is to happen. How much time did you put in perfecting your craft as an assistant before getting that long overdue promotion? In general it takes people at least a decade to become an "overnight success story." Just ask Eddie Hamilton (editor of Mission: Impossible Fallout) or Kelley Dixon (editor of Breaking Bad and Better Call Saul) how many years it took for them to "get lucky." The next time you feel like conceding to the demands of your profession and accepting them as reality because "You knew what you signed up for," think long and hard about what you've had to endure to secure your spot. If you value the years of effort, financial hardships, and sacrifices you've made to develop the level of expertise you bring to your job...shouldn't others value it equally? Most importantly, realize that if you make the choice to devalue yourself, your skills, and your expertise, you are making the choice to devalue ALL OF US. Calculate the True Value of Your Expertise to Others Despite what the entertainment industry wants you to believe, YOU ARE NOT JUST ANOTHER SET OF HANDS. You are not a keyboard monkey. You are not an extension of your workstation. While this analogy may vary from craft to craft, bear with me as I compare the craft of editing (my specific skillset) to building a multi-million-dollar home. 'Building a Million-Dollar Home 101' Step 1: An architect designs the blueprints. Nobody would argue that an architect has tremendous value given their education and expertise. And the analogous position in filmmaking to the architect is most likely the writer, a (generally) highly valued and sought after position in the entertainment industry. And rightly so.     Step 2: A foreman assembles a crew of skilled craftsmen to build the home. You can make the case that either the main producer or the director is the 'foreman' who assembles the crew and directs them all towards the common goal of building a gorgeous home exactly to the specifications laid out in the blueprints. And the client is of course the movie studio or television network.   Step 3: The carpenters and laborers take random piles of materials (lumber, copper pipes, shingles, plywood, electric wire, etc) and frame what will become the home. The carpenters and laborers in this case are the editors, visual fx artists, animators, cinematographers, gaffers, makeup artists, production designers, script supervisors...and literally the set carpenters. We are all the hands that build the house. We all have one common goal.     Step 4: The sh*t hits the fan. Inevitably while building any complex structure, whether it's a house, a tv series, or a film, things are going to go wrong. Plans will change. Tastes of the designers and clients will go against the original blueprints. Or the house might just fall apart all together. "Originally I wanted the kitchen here, but let's put it on the other side of the house instead. Can we do that?" "This upstairs bathroom would really go better in the entryway instead, wouldn't it?" "Oh yeah, this piano I asked you to put in the 3rd floor...can we put it on the 1st floor now?" "Oh my God. The foundation is collapsing. Do something!!!!"   Step 5: The architect and foreman re-design the plans to overcome design challenges and/or meet the updated needs of the client. And sadly this is where the house-building analogy takes a wrong turn. When design changes are required on a home, the responsibility falls on the architect or more likely the foreman (both of whom are being paid handsomely for their roles on the project). But when the sh*t hits the fan in the entertainment industry, it rolls downhill. And guess who's laying at the bottom to receive all the shit rolling to the bottom? Welcome to post-production. As editors, visual fx artists, and the many other crafts in post, it's our job to make complex design changes and overcome many of the creative challenges that come up during the filmmaking process. We are expected to solve problems with the level of expertise that an architect or foreman have. Yet we are treated (and often paid) like laborers, like a set of hands simply there to button-mash our keyboards at the behest of the "true creatives." That is until the moment when we put Humpty Dumpty back together again (on deadline, I might add) and are regaled with such high praise as, "You saved the picture!" or "You're a magician!" Starting to feel like your position has value now? It's about time. Now do something about it. This Isn't a Union Issue...It's a Human One I honestly don't care whether you do union or non-union work. These cultural issues affect all of us in the entertainment industry. And here's the really bad news...a new contract isn't going to change any of this without YOU. Should those of us working in post-production be afforded the same amount of turnaround hours as other guilds in Hollywood? Of course! Yes we should negotiate new turnaround times equal to other guilds and demand a minimum amount of "standard" hours per day...but it won't solve all of our problems. Why? Because none of these issues matter if we don't enforce them on an individual level. I can count the number of editors in all of unionized Hollywood on one hand who enforce "meal penalties" on a regular basis. Most editors aren't even aware that it's a union no-no to skip lunch and eat it at your desk. You can't wait around thinking your union rep is going to make sure someone enforces your meal breaks and pays you OT. The responsibility is yours. The next time you find yourself thinking, "It's no big deal, I love this job," just remember: We're not lucky to be working in Hollywood. Hollywood is lucky to have US.

Click to Download Audio Summer is officially here which means the first season of the Optimize Yourself Podcast has come to a close (don't worry...I'll be back right after Labor Day). I cannot express enough how grateful I am to all of my listeners who inspire me to keep this program alive every single day. Please feel free to continue reaching out and sharing your stories (and your challenges) with me. I read every single message I receive. It is my belief that it's no longer necessary to sacrifice your health (and your sanity) in pursuit of your creative career or your business, and in season 2 I promise to continue finding the best experts I can to help design the optimized version of you...one small action step at a time. Since entering the world of podcasting 4 years ago now (it's been four years already???) I've interviewed over 150 people ranging from world-class experts in many different fields to everyday people sharing their personal journeys, their challenges, and their triumphs. I learn something profound and meaningful from every single interview, and I hope that you do as well. While choosing my favorite episodes (and your favorite episodes) from the past year is like choosing my favorite child, I've done my best based on user feedback, download statistics, and my own personal feelings as well. Below are my top 10 favorite podcast interviews from Season 1. 1. Breaking 'Bad' From Assistant to Editor | with Kelley Dixon, ACE Click here for this episode's show notes Kelley Dixon is simply a badass. She has edited some of the most iconic shows in television history including Breaking Bad, Better Call Saul, and The Walking Dead...to name a small few. What most people don't realize is that she spent over twenty years working as an assistant editor before becoming an "overnight success." This interview was EPIC, diving in for over 2 1/2 hours into the intricacies of Kelley's journey from the bottom to the top. We also discuss her ninja-like strategies for perfecting her craft despite working long and demanding hours as an assistant. 2. Understanding the Link Between Creativity and Depression | with Dr. Edison de Mello Click here for this episode's show notes This is the first episode of the Optimize Yourself podcast, and that's by design. One of the fundamental themes I revisit in all of my podcasts, articles, and my online courses is the idea of optimizing creativity. Unfortunately if you are blessed with creative abilities, they often come at a price. And that price is battling mental health issues like anxiety, depression, and burnout. In this interview I do a deep dive into the link between creativity and mental health issues with the man who saved my life many years ago, Dr. Edison de Mello of The Akasha Center For Integrative Medicine. 3. How to Rewrite Your Own Story | with Dr. Steven Isaacman Click here for this episode's show notes I recorded this episode more for my own personal reasons than because I thought it would be popular, but it ended up being the 3rd most downloaded episode of the whole season! In this episode I do a deep dive into the practice of psychoanalysis and the stories we write for ourselves every single day that could be holding us back from achieving great things. Dr. Steven Isaacman and I also have an in-depth discussion about the dreaded 'imposter syndrome' and how to overcome it when you work in creative fields. 4. The Disciplined Pursuit of Less | with Greg McKeown Click here for this episode's show notes "Less. But Better." This is the mantra of best-selling author of Greg McKeown, and I couldn't agree more. This is one of my favorite episodes because Greg takes a very honest approach towards all the noise and busy-ness we deal with in society today, and he helps us understand what is required to truly prioritize our lives properly and say "No" to everything urgent in our lives. If you want to start focusing on achieving important things in your life (and start ignoring the urgent), this episode is a must-listen. 5. FOCUS: The Superpower of the 21st Century | with Cal Newport Click here for this episode's show notes Cal Newport is quite possibly one of the world's foremost experts on the concept of 'Deep Work,' and we wasted no time diving deep into what is required to regularly get into this mental state to achieve maximum levels of creative flow. I learned a ton from this interview that I am now incorporating into my upcoming Focus Yourself online program, and if you feel like you're constantly distracted with no real direction, it's time to start developing focus as your next superpower. 6. How to Reverse Depression, Anxiety, and ADD at the Genetic Level | with Dr. Ben Lynch Click here for this episode's show notes The work that Dr. Ben Lynch is doing in the world of genetic testing and diagnosis is absolute LIFE. CHANGING. Having battled anxiety and depression for over a decade now I've experimented with numerous supplement and prescription medication routines, much of which was trial & error. But thanks to new technology from companies like 23andMe we can now get an accurate picture of our unique genetic makeup. Unfortunately most of the data is near-impossible to interpret, but that's where Dr. Lynch comes in. His "Clean Genes" protocol helps you understand your unique genetic code and also design the right lifestyle changes to optimize your own genetic expression. Of all of the episodes I released this year, this episode has received the most profound feedback from my listeners. 7. Finding Your 'One Thing' | with Jay Papasan Click here for this episode's show notes Whenever listeners and readers reach out to me confused about where to go with their careers or how to improve their health, often times the biggest problem is they have too many goals, too many priorities, and too many different projects they are taking on at one time. Thanks to Jay Papasan, co-author of the best-selling book 'The One Thing," there is now a simple formula to figure out the most impactful actions you can take to see the most results in your life. There isn't a single day that goes by for me when I don't ask myself, "What is the ONE THING I can do today such that by doing it everything else becomes easier (or unnecessary)?" 8. Your 'Smart' Phone Is Killing Your Creativity | with Kevin Holesh Click here for this episode's show notes Talking about the exploding epidemic of tech addiction is one of my favorite subjects, and in this episode I do a deep dive into specifically being addicted to "smart" phones (which in my opinion could just as easily be called "dumb" phones, because that's what they're doing to us). My guest is Kevin Holesh who designed the wonderful app Moment which is basically a Fitbit for your phone usage. Not only can it help you more clearly understand how much you're using your phone on a daily basis, the app can also help you drastically cut back on your addiction to your "smart" phone. 9. How to Tell Good Stories | with Jeff Bartsch Click here for this episode's show notes Storytelling has been my life's work for almost twenty years, and in this episode I chat with fellow film editor and Story Greenlight founder Jeff Bartsch about the components required to tell great stories. This applies to anyone who works in creative fields, not just editor or writers like us. But more importantly, not only do we discuss how to tell good stories, we discuss the importance of being able to tell your own story. 10. The Right Way to Network In Hollywood | with Chris Visser Click here for this episode's show notes I'm probably a bit biased when recommending this episode as one of my favorites, but that's because the guest Chris Visser is my (current) assistant editor. In this episode we do a deep dive into Chris' approach to building a relationship with me over time and networking the right way to become an integral part of my team. For anyone who's a socially awkward introvert struggling to build a professional network, this is a must-listen.   I'd love to know in the comments below, which was your favorite interview of this season? What would you like to learn more about Season 2?

Click to Download Audio On a weekly basis I receive emails, Facebook messages, and tweets from people all over the world who work in creative fields. Some people send me pages worth of their life stories, others are looking for quick tips to optimize something very specific in their lives, but most often the messages I receive are from people frustrated with where they are in their career who don’t know where to go next. It occurred to me recently that the advice I’m providing to an individual privately might be beneficial to many others struggling with similar obstacles in their own lives. So here goes my first attempt at a new series called ‘Dear Zack.’ If you find this beneficial, please let me know in the comments below or send me a quick message letting me know you’d like to read more of these in the future! Dear Zack, I've been editing pretty consistently for the past year and more, but recently I've been having trouble finding work and I want to make sure that I'm doing everything I can to better my chances. I've reached out to people that I have a good relationship with in the past (directors, producers, line producers, editors, etc.) to let them know that I'm available. I've also reached out to agencies with not much luck except for being hip-pocketed at [two big-name agencies].Of course, I'm staying positive since I believe that I've been turning out good cuts and people have enjoyed working with me. But I just wanted to take the extra steps and see if I can learn from a person of your experience. Is there anything more that you did during a time like this other than have patience? Thanks, Martina   Hi Martina, There is no doubt that patience is a required virtue when working to build a fulfilling career. One of the fundamental mindsets I teach in all of my online programs is that life is game of chess, not a game of checkers. You have to be willing to play the long game and stop looking for the next easy move - just because a quick jump is available doesn’t mean it’s the best strategy to win the game. Don’t confuse patience with complacency, however. Often times people reach a certain point in their careers where they believe they have earned the right to their next job, and all they have to do is wait to be discovered. No matter the level you’re at in your career, every single strategic move should have one singular objective: Putting yourself in the right place at the right time so the right people discover you, and thus you “get lucky.” “Luck” is simply the intersection of hard work and opportunity. I’m not implying in any way whatsoever that you are sitting around waiting to be discovered, clearly you are reaching out to past contacts and you’ve built a relationship with not one but two big-name agencies. This is a great start! But you definitely haven’t reached the point yet where there’s nothing else that can be done except sit and be patient. If you follow my podcast and blog then you may already know I spent years jumping from one random indie project to the next (often unpaid), and I was also unemployed for long stretches before finally landing my dream job editing Burn Notice (something I dive into in great detail in my ‘Ultimate Guide to Making It In Hollywood’). While it’s been a few years since being at this stage of my career, I still remember it like it was yesterday. Furthermore, I have yet to speak to a fellow editor (or most other professions in Hollywood for that matter), where people didn’t struggle jumping to the next level in their careers. For example, it took Kelley Dixon (Breaking Bad, Better Call Saul, The Walking Dead) twenty years of working as an assistant to become an “overnight success story.” Take a breath and know this is all part of the journey. The only way to ensure failure is if you give up. Knowing you are at a similar crossroads in your career today that everyone goes through at some point, here are three questions to ask to ensure you are doing everything possible to put yourself in the right place at the right time to be “discovered.” I have also provided concrete action steps so you can start making sh*t happen! 1. Do your résumé and portfolio clearly demonstrate why you are the best fit for the jobs you’re pursuing? Based on your statement, “I’ve been editing pretty consistently for the past year and more,” I’ll assume you are not brand new to the game and have some experience under your belt (most likely you’ve assisted as well?). If you did come up as an assistant editor like most people do, there is a place called “the gray zone” where it can be really tough to transition from assisting to only taking editing work. This is a tough transition, but building a fulfilling career requires pursuing projects that align with your creative passions and your skillset. Sometimes this means making tough financial decisions and (gasp!) turning down what appears to be perfectly good work short term (like assisting) because it no longer aligns with your long term goals. If you simply need a paycheck job to cover your rent and groceries, then survival is priority number one and you don’t have the room to be picky. There’s no shame in making a living. But approaching jobs with this mindset for an extended period of time can unfortunately lead to a less-than-perfect résumé that some might consider a bit “scattershot” (Don’t worry, my résumé was like this for almost a decade). If you’re concerned one of the reasons you aren’t being considered for job opportunities is because your past work experience is less than ideal, let’s get creative with how you present yourself (while staying honest, of course). Action Step: Create multiple versions of your résumé. Because I don’t have a clear sense of your level of experience from your email Martina, for the sake of argument, let’s pretend you have at least five years of industry experience and some of that includes assistant work. Perhaps you have a scattershot portfolio of past projects that includes some comedy work but also commercials, trailers, documentary shorts, indie features, and several years as a tv assistant in multiple genres. If your goal with your résumé is to show how much experience you have as a whole, having one generic list of all your past projects can actually hurt you more than it helps you. At best you have 30-60 seconds to convince someone that you are the right creative fit for the job, so make that decision as easy as possible by organizing your résumé strategically for each potential opportunity. Pigeonholing is the reality in creative industries. While I don’t believe that we should ever be limited to only doing one type of genre work, producers and directors are looking for a slam dunk, so give them the clearest picture possible of why your past experience makes you the right fit for this current opportunity...even if this means dropping a bunch of stuff from your résumé that isn’t the right fit. If you don’t feel you have enough experience to drop anything, then at least have your résumé flow in such a way that the most relevant work is listed first and the least relevant is on the bottom (or the next page). People commonly make the mistake of listing their work history chronologically as if they're applying for a middle management job at Microsoft. This isn’t necessary in creative industries. IN SHORT: Your résumé has one job - demonstrating you are the right creative fit. Make it as simple as possible and craft a unique version for each individual opportunity. BONUS Action Step: Make it braindead easy to navigate your online portfolio. If you also have an online portfolio of sample work, organize it in such a way that people can find the right genre quickly. A home page with every single piece of work you’ve ever done only confuses the person who’s considering you, especially if you’re listing projects you may or may not have edited at all (e.g. you list projects that you assisted on only). Think in terms of building funnels: If someone comes to your site and wants to only watch comedy (or action, or drama, etc), does your site flow in such a way that doing so is obvious and simple? If you haven’t already, I suggest organizing your portfolio site with categories, tabs, tags, or anything else that allows a potential producer or director to curate your content instantly. And if you’re old school and still have a DVD reel, make multiple versions or even custom versions for each job application (I know it sounds crazy, but my custom reel is the main reason I landed Burn Notice). When you reach out for potential jobs, in your email provide direct links to specific examples of your past work - do the hard work for them. While it might not be possible to have five different versions of a website the way you can have five unique versions of your résumé, by providing the right breadcrumbs you make it super simple for them, and you’ll also feel confident they are watching the right work at the right time. Lastly, if you worked on a specific show, don’t just link to the homepage for that show on your website and expect others to dig through and find the right clips. Provide sample scenes directly on your site that demonstrate your best work on that series (and list your specific contribution). If someone sends me a link to watch their work and I end up on a YouTube landing page instead, I’m not going to watch anything because I don’t know where to start or how they were involved. IN SHORT: If your prospective employer can’t find the absolute best clip that represents why you are the best fit for their project within 30 seconds, your site needs to be reorganized. 2. Are you properly leveraging your past relationships? If you are good at what you do, once your foot is in the door and you have a few years under your belt, you will not build your career using your résumé or portfolio: You will build your career with referrals. One of the most frustrating parts about building a creative career in Hollywood is that most jobs are filled before you ever hear about them. You will most likely never know about 95% of the opportunities that might be perfect for you. If a job opening has become public knowledge, that simply means the people looking have already exhausted their contact list. So it’s imperative that you stay relevant on that contact list so you’re part of the “insider” conversations before employers are forced to recruit people on the “outside.” The great thing about building your career with referrals is that rather than always looking for work yourself or having just one agent potentially hunting down work for you, instead you have an entire network of producers, directors, editors, and other colleagues constantly referring you when jobs become available, and you will hear about a lot more than 5% of the opportunities that are a perfect fit for you...without any effort at all! Sounds like a dream, right? The key to building a perpetual sales machine of friends and colleagues looking for work for you is maintaining those relationships even when you aren’t working with them. Sure it helps if you are the best editor they’ve ever worked with and you are #1 on their call list, but short of that, the next best strategy is to be the most recent person on their list. Most job opportunities are filled quickly. If someone comes to me asking if I “know a good assistant,” for example, I don’t have a giant spreadsheet of every single great assistant I’ve ever worked with in my career and their current availability. I don’t take the time to weigh the pros and cons of each to determine who is the most deserving or the most able. The ones I do think of right away and refer to others are often the ones I’ve been in contact with most recently. Action step: Reconnect with people in your existing network...but without asking them to consider you for any upcoming opportunities. You mention in your email, Martina, that you’re already reaching out to past colleagues to “let them know you’re available.” Instead of reconnecting simply to land your next job, instead think of a way you can strengthen your relationship with them by providing value to their lives first. I recommend checking out The Socially Awkward Introvert’s Guide to Networking if you’re looking for creative ways to provide value to colleagues you’ve worked with in the past. For example, rather than sending a mass email to everyone you’ve worked with in the past updating them on your work history and your availability (Side note: Rarely will I consider someone who has Bcc’d me on a chain message), instead email each colleague individually and begin a conversation that shows genuine interest in what they’re working on. End the email with an open-ended but simple question such as, “I read that you are currently directing [XYZ] film. It looks like a challenging project, are you having fun? I hope it’s as much fun as when you and I worked on [ABC] together.” Start up a casual conversation, try to slip in some “in jokes” from past projects, remind them you’re a fun guy or gal. After a couple of exchanges there’s no harm in mentioning you’d love the opportunity to work together again if they’re looking. But providing value to them always comes first - your needs come second. IN SHORT: Do your best to stay in contact with people who can refer work to you, but do so in such a way you never actually have to ask them to consider you. 3. Are you prioritizing the time to build new relationships? You mention in your email Martina that you are reaching out to people you already have a good relationship with, and you are also reaching out to agencies...but are you also working hard to expand your network and meet new people? Whenever I’m actively looking for my next project, I consider unemployment my full-time job, and my number one job duty is expanding my network of contacts. Similar to dating, the catch-22 of meeting new people is that it’s nearly impossible to find the time to network while you’re working, but when you’re unemployed you often reek of desperation because you need work NOW.  Barring having a Delorean parked in your garage so you can start building new relationships two years ago, the next best time to start networking and building them is today. But like connecting with past colleagues, when building new relationships you cannot expect to get anything in return. Your only goal is to provide value to others. Here’s why creating new relationships is so important, especially the higher you climb the ladder: People don’t hire based on experience nearly as much as they hire based on trust and comfort. I am inundated multiple times per week with emails that say the following: “I’m just letting you know that I’m available and I would love to be considered if any opportunities arise.” Here’s the honest truth that few are willing to admit: People will not consider you or refer you for other open projects if they haven’t worked in the trenches with you before. If someone is putting their name on the line, they need to know you can hack it when the bullets are flying, deadlines are tight, and tensions are high. And even more importantly, they need to trust that you have a good attitude under pressure. If I’ve worked with someone in the past and not heard from them in a year, there’s a VERY short list of people I trust enough that I would refer jobs to if they simply sent me the “I’m available for work again” email. But if I have never worked with that person before, the “I’m available” email will have a 0% success rate (even if I like them personally). If a prospective employer is weighing your résumé against someone else who has the same level of experience, they will always choose the person they are more comfortable with. And if they don’t know either candidate, often times the tiebreaker goes to whomever has a stronger referral from within that employer’s network. Therefore, your objective is to meet new people and make them comfortable with you so they trust hiring or referring you for a job in the future. Action step: Strategically build your dream list of contacts...then start reaching out. During several of the long stretches of unemployment earlier in my career, I developed what I now call “The IMDB Game.” After having made the mistake for several years of taking the shotgun approach to networking and job hunting (i.e. sending out hundreds of résumés and demo reels to every single job opening in the industry), I decided it was time to start using a sniper rifle instead (‘Shooter’ pun intended). Here’s how “The IMDB Game” works: Make a list of all of the ‘Dream Projects’ you’d love to work on. At a minimum choose 5-10 of your favorite tv shows, or feature directors & producers, or trailer houses...whatever makes the most sense for the type of work you do. Research all of the relevant people that work on those projects and make a spreadsheet organizing them with the following columns: Name Current project Past (relevant) projects Potential connections? Contact info (email, social media, etc) Find any potential connections you have in common. IMDB Pro has a great feature for this, but if you don’t want to pay the membership fee, with a little elbow grease you can dig through credits of their past projects to see if you have worked with any of the same people. Once you’ve compiled your list, begin reaching out to either your dream connections directly or reaching out to people you’ve both worked with in the past and see if you can get a brief intro. The likelihood of someone responding to you goes up exponentially if you’re referred by someone they trust. Above all else, remember your main objective when reaching out to new contacts is not to land a job: Your sole purpose is to provide value to their lives. IN SHORT: When you’re unemployed, expanding your network should become your full-time job. Rather than taking the shotgun approach, strategically approach the right people who are the best fit for the dream projects you’d like to work on. To Summarize... Unfortunately there is no defined path to success in any creative career, especially filmmaking. But despite the lack of any road to follow, after interviewing many successful people including editing legends such as Walter Murch, Carol Littleton, Kelley Dixon, Jeffrey Ford, and Billy Goldenberg, I’ve distilled what seems like a thousand different ways to “make it” into three very distinct steps anyone can follow, all of which I discuss in detail in my Ultimate Guide to ‘Making It’ In Hollywood: You need a clear picture of the ladder you want to climb You have to do awesome work People have to know you do awesome work It sounds to me Martina like the area you need to focus most of your attention is making sure the right people know that you do awesome work. Rather than “being patient,” here’s a quick summary of the steps you can take to ensure you are making sh*t happen: Customize your résumé to fit each specific job opportunity Organize your portfolio so prospective employers can find the right work quickly Reconnect with past colleagues and connections...but without asking to be considered for a job Strategically expand your professional network with people working on your dream projects I hope this helps you design your own unique roadmap to success, Martina! Be well. Zack Arnold If you would like to submit your own question for a future article, feel free to contact me here.

Kelley Dixon is the Emmy-winning editor of such iconic shows as Better Call Saul, Breaking Bad, The Walking Dead, and Shameless. She has been nominated for an editing Emmy every single year since 2012 (winning in 2013 for an episode of Breaking Bad), she has been nominated for an Eddie Award seven out of the last eight years, and she has received numerous other nominations as well. Needless to say, Kelley is a film editing badass. In part 2 of our conversation today (Click here for part 1 of this interview) we dive as deep as I’ve ever gone into all of the steps necessary to climb from the bottom of the ladder to the top in Hollywood. We go over all the details of Kelley’s “overnight success story” where it took her just short of 20 years of being an assistant editor before exploding onto the scene with Breaking Bad. We chat about the mindset necessary to persevere, how to build relationships with producers, directors, and your editors so you put yourself in a position to be promoted when the time is right, how to develop your skills as an editor even if you're buried with assistant work, and most importantly we talk about the importance of playing chess with your career and making the right strategic moves rather than always chasing after the next shiny object and playing a game of checkers. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: How to know when you're ready to transition from being an assistant Kelley's long and twisty path to becoming an Emmy-winning editor Building good relationships in the industry The art of being a good conversationalist What to do when it's "your time" after being an assistant for two years The importance of reminding yourself that there is no one way to make it Finding good editing mentorship to learn more as well as recognize your own style The danger of moving up the career ladder too quickly Honing your editing craft by discussing subtext The right way to approach experts instead of always asking, "Can I take you out for coffee?" Useful Resources Mentioned: Kelley Dixon Our Generous Sponsors: This episode is made possible by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone interested in moving more at their height-adjustable workstation. Listen, standing desks are only great if you’re standing well, otherwise you’re constantly fighting fatigue and chronic pain. Not like any other anti-fatigue mat, the Topo is scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. And they’re really fun and a great conversation starter. This episode is made possible by the HumanCharger,  a revolutionary new light therapy device made specifically for people who spend long days in the dark and don’t get enough sunlight…i.e. You and me. Simply put in the earbuds for 12 minutes a day to receive your daily recommended dosage of UV-free white light. Doing so can drastically increase your energy, improve your mood, and increase mental alertness and focus.This device has literally changed my life and I use it every morning without fail. Use the code ‘OPTIMIZE’ to get 20% off your order. This episode is made possible by StoryBlocks, my go-to resource for professional stock images for my sites. Use this link to download anything from their library of over 400,000 stunning photos, textures, images, and icons free for 7 days and get discounts on millions of more items. Guest Bio: Twitter Kelley Dixon grew up with a single mom who taught grade school on Chicago's South Side. After graduating from Colorado State University with a degree in Technical Journalism, Kelley's sights were set on a writing career in advertising. So it was WEST! To Los Angeles! And no openings in any of the ad firms of her dreams. So instead... Kelley landed a job in MGM's mail room, and there started a career in the film biz without going to film school! Kelley has spent the last 10 years editing Breaking Bad, Better Call Saul, The Walking Dead, Preacher, HBO's Luck, and Shameless, among others. And has worked with some of her admired Directors and Producers and Editors. She has won 1 Emmy for Breaking Bad. And has received 9 Emmy Nominations and 6 ACE Nominations for her work. She wishes she had a better written bio than this and thinks talking about herself in the 3rd person is the most obnoxious arrogant thing and hopes you'll excuse it this time! Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Jakin Rintelman. Special thanks to Krystle Penhall and Sarah Furie for helping to spread the love! The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Kelley Dixon is the Emmy-winning editor of such iconic shows as Better Call Saul, Breaking Bad, The Walking Dead, and Shameless. She has been nominated for an editing Emmy every single year since 2012 (winning in 2013 for an episode of Breaking Bad), she has been nominated for an Eddie Award seven out of the last eight years, and she has received numerous nother nominations as well. Needless to say, Kelley is a film editing badass. In our conversation today we dive as deep as I’ve ever gone into all of the steps necessary to climb from the bottom of the ladder to the top in Hollywood. We go over all the details of Kelley’s “overnight success story” where it took her just short of 20 years of being an assistant editor before exploding onto the scene with Breaking Bad. We chat about the mindset necessary to persevere, how to build relationships with producers, directors, and your editors so you put yourself in a position to be promoted when the time is right, how to develop your skills as an editor even if you're buried with assistant work, and most importantly we talk about the importance of playing chess with your career and making the right strategic moves rather than always chasing after the next shiny object and playing a game of checkers. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: How to know when you're ready to transition from being an assistant Kelley's long and twisty path to becoming an emmy-winning editor Building good relationships in the industry The art of being a good conversationalist What to do when it's "your time" after being an assistant for two years The importance of reminding yourself that there is no one way to make it Finding good editing mentorship to learn more as well as recognize your own style The danger of moving up the career ladder too quickly Honing your editing craft by discussing subtext Useful Resources Mentioned: Kelley Dixon Our Generous Sponsors: This episode is made possible by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone interested in moving more at their height-adjustable workstation. Listen, standing desks are only great if you’re standing well, otherwise you’re constantly fighting fatigue and chronic pain. Not like any other anti-fatigue mat, the Topo is scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. And they’re really fun and a great conversation starter. This episode is made possible by the HumanCharger,  a revolutionary new light therapy device made specifically for people who spend long days in the dark and don’t get enough sunlight…i.e. You and me. Simply put in the earbuds for 12 minutes a day to receive your daily recommended dosage of UV-free white light. Doing so can drastically increase your energy, improve your mood, and increase mental alertness and focus.This device has literally changed my life and I use it every morning without fail. Use the code ‘OPTIMIZE’ to get 20% off your order. This episode is made possible by StoryBlocks, my go-to resource for professional stock images for my sites. Use this link to download anything from their library of over 400,000 stunning photos, textures, images, and icons free for 7 days and get discounts on millions of more items. Guest Bio: Twitter Kelley Dixon grew up with a single mom who taught grade school on Chicago's South Side. After graduating from Colorado State University with a degree in Technical Journalism, Kelley's sights were set on a writing career in advertising. So it was WEST! To Los Angeles! And no openings in any of the ad firms of her dreams. So instead... Kelley landed a job in MGM's mail room, and there started a career in the film biz without going to film school! Kelley has spent the last 10 years editing Breaking Bad, Better Call Saul, The Walking Dead, Preacher, HBO's Luck, and Shameless, among others. And has worked with some of her admired Directors and Producers and Editors. She has won 1 Emmy for Breaking Bad. And has received 9 Emmy Nominations and 6 ACE Nominations for her work. She wishes she had a better written bio than this and thinks talking about herself in the 3rd person is the most obnoxious arrogant thing and hopes you'll excuse it this time! Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Jakin Rintelman. Special thanks to Krystle Penhall and Sarah Furie for helping to spread the love! The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

This is the first part of a conversation we had with Kelley Dixon who is one of the editors of Breaking Bad

This is the second part of a conversation we had with Kelley Dixon who is one of the editors of Breaking Bad

This is the first part of a conversation we had with Kelley Dixon who is one of the editors of Breaking Bad

This is the second part of a conversation we had with Kelley Dixon who is one of the editors of Breaking Bad

In this episode, Gordon and Kelley discuss editing montages for Breaking Bad and one montage that was set to Walter Whites stop watch at exactly 2 min. in the initial cut.

Kelley's first episode that she cut for Breaking Bad was the one in which Walter White kills Krazy-8. In this episode of The Cutting Room we discuss the approach to the death scene and how the lack of music impacts the viewers engagement.

Kelley Dixon and Gordon Burkell sit down to discuss the start to Kelley's early beginnings in her career, X-Files, and Script Secrecy.

In this episode we pull an excerpt from EditFest LA 2014's Panel with Moderator Norman Hollyn, Editor Kate Amend, ACE (The Case Against 8, Farm Midwives), Rob Ashe Jr. (Conan O'Brien), Jason Ballantine, ASE (The Great Gatsby, Battle Creek, and Fury Road), and Kelley Dixon, ACE (Breaking Bad, The Walking Dead).

Composer Dave Porter discusses his score for the acclaimed television series Breaking Bad.

Kelley Dixon, running for SEIU 721's regional council for the B.U. 121, will be with us to discuss her goals and qualifications. Join us live!