Consistency Over Perfection: Briana Clearly on Making 12 Films in a Year

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WLPNLP Chicago 105.5 FM Lumpfin radio. Hey, Chicago. Happy Saturday, 2 o'.

Clock.

I hope you guys maybe have on a jacket. It's like that weather where you can get totally sick. So I am so happy to have you all here. I am here with Briana, clearly.Briana, I am so happy to have you.

I'm excited too. I'm a little nervous child.

I'm sort of nervous too. Briana, you are a wonderful filmmaker.You are a what I call a make a film every month filmmaker right now because y', all, Briana is a Chicago based director, storyteller, mentor and creative force behind filmmakers mixtape, a 12 month challenge where filmmakers commit to making one film every single month. Yes. That is 12 films. And we're gonna talk about what kind of brain says, oh yeah, that's like totally reasonable. That's doable.So I'm so excited to talk to you, your process as a director and what happens when you choose consistency over perfection.

Oh, you ate that. Thank you so much for that wonderful introduction.

Yeah, I'm so listen, this is the last day of. I mean, obviously we practice black history as a lifestyle of being black 365 days a year.

But yes, it's in us. It's not on us, period.

And with the hundredth, it's like the hundredth anniversary of Black History Month. How is your last day of February going so far?

I mean, I'm feeling blessed and highly favored. You know, I've been getting good news, I've been talking to people that I love. So I've been affirmed today. I've been affirming today.And yeah, I'm just continuing to do that. I'm, I'm yapping in love and in community. So I'm feeling really good on this last day of Black History Month.

I love that. I feel like it's, like, skipping down the street, smiling, and somebody's like, what's that all about?

All right.

Oh, my gosh. Briana, you have to tell us. What kind of kid were you? Were you, like, a fun, creative kid?

I'm aging myself, so I was born in the 80s, and I just think it was a very different time to grow up as a child. Young black girl. You know, I have boomers for parents. You know, my mother raised me.And so I think that I always maybe have been imaginative, but I don't know that I knew how to place that. I never was a child who was like, oh, I'm gonna do this when I grow up.I think I just didn't really know how to figure out or what was possible or even had, you know, a lot of confidence in. This is the thing that I am good at, and this is the thing that I'm gonna pursue. Um, so.I mean, wayward in a way, but I think as a child, you should explore. Yeah, but I think it is really important as a child to have, like, real guidance. And I see this in you, and I want to foster that.And I don't know that I necessarily had that, so.

Oh, interesting. Like, you didn't have to go, like, to dance class on Saturday morning or anything?

No. Oh, isn't that crazy?

Yeah. I don't know if it's crazy, but I just, like, that's.

I didn't have extracurriculars like that. Now I was in a gifted program. Like, let's not get into it. Amazing girl was in the gifted program.

Amazing.

But in terms of, like, an extracurricular, like, a sport or something recreational, like dance or anything like that, I don't have any of those types of things.

Oh, I love that, though. Cause you get to sort of, like, first of all, your time is free. I mean, parents just booking our schedules for all these things. It's like, come on.And then the mom's like, I have, like, friends, mom. Oh, I have to get her to soccer. I have to get her to dance. It's like, does she want to do it? Listen, your schedule was booked, and so was this kid.

I'm gonna mind my child is my childless business and let the parents do what they do. I see, you know, I see benefit in it.And I also see how sometimes, you know, it could be a projection of your own dreams and things onto your children. But that's none of my business.

You know what, Briana? It's none of my business either. I don't have kids. So I also should just be quiet. What am I doing? Oh, my gosh.But then how did you get into filmmaking? Being something of interest?

Yeah. So I was in the Navy for four years. Fun fact.

You were.

I know. Nobody would ever believe it, but I was indeed in the Navy. There is photo proof.

Amazing.

And I was on an aircraft carrier, too. I was a real sailor. So, yeah, I was in the Navy. I had gotten out. And at first I was like, oh, I want to be like, Lala Anthony.I want to be doing TV and radio as a personality. And so I found a program that was for TV and radio broadcasting, and it ended up being how you produce these things.And what actually really changed my trajectory and pointed me towards film school was an editing class. I hated it, but my professor was like, well, maybe if you shoot your own stuff, you'll like it more.I don't know that that's necessarily how I feel about editing, that I like it more.But I think the ability to have an idea and then see that idea through to fruition into something that feels material is what really kind of opened me up to filmmaking. So from there, I was like, well, let me go to film school.

Okay.

Yeah. Give myself as much landscape as I possibly can to explore what it looks like to be a storyteller. So.

Wow. So this. So a class of editing that you did not like. What did you like about it? Was it, like, the assignments or.

I think putting stuff together, finding, you know, it was a lot of, like, finding footage to put together and creating a story. And, you know, the technical aspect of editing is tedious. You know, it's not just the.There's the art part, but you can't get to the art part unless you're organized and you do the logistics. Yeah, yeah. There's, like, so much of the logistical and the technical part that is extremely important, but it is a drag. I'm so sorry.Like, for some people, it is wonderful for them, but it's very. BO for me is very. It's a very isolating experience. And no, it wasn't that fun. I think once you get again into, like, the.The art and the feel and the creative aspect, yeah, it can be cool, but, you know, it. It's a tedious thing. It's a. It's a very tedious thing. And I have a complicated relationship with it as a result.

I do as well. Even with my podcast, I'm like, oh, that was so fun to have the talk. And then when I look at it, like, to Cut. Like, oh, my gosh.But after I get in a groove, then I'm okay. But that, like, I guess it's exercising. You're like.You, like, hate going over to the Pilates studio, but then when you're there, you're like, okay, I'm cool.

You know, you're locked in.

Yeah, you're locked in. But, yeah. And in film school, all the editing kids always had jobs right away.

I'm just like, that part, too. Cause nobody wants to do it.

Nobody wants to do it. The sound kids, too. Like, they were all like, oh, yeah, we're here at this job. At this job. It's like, wow. Oh, my gosh.So then, okay, so this teacher says, all right, well, why don't you try, like, making your own stuff? And you went to film school, and what was that experience? Like? Did you guys have, like, film assignments? You had to make a short film right away?

Yeah, so I. When I decided I was going to go to film school, I moved from Miami to Chicago and attended DePaul University.And, yeah, at DePaul, I was an older student. That was something that I found to be interesting. I was probably like, bachelor's or. This was my bachelor's initially that I moved for.

Okay.

And I was, like, 30 years old or 32 or something. I was older than a lot of the. The folks that was. That were students getting their bachelor's degrees. And.Yeah, I. I think I was, again, just learning what it means to tell a story.

Yeah.

Learning how to craft, learning how to screenwrite. And then towards, like, the end of getting my bachelor's, I think, is where I.Where I really started to find my voice and figure out what type of stories I wanted to tell. And as a result of kind of finding my way through that, I was essentially vetted for a master's program. Oh, really? At DePaul? Yeah.And so I went ahead and got my master's and just tried to hone in on what it meant to tell stories with a specific perspective.And so, you know, it was always important for me to tell the stories of black women, black femmes, in a way that felt personal and not as like a we're being watched, but an invitation into the conversation that may be happening.

So that's really cool that you. Wait. Did you have, like, inspiration through your program or folks to, like, foster that or. That was just, like, sort of a natural thing that.That just came up?

Yeah, I think it's a couple of things. I think, you know, a lot of people go to college a Big part of why a lot of people go to college is to network and to find community.And I was building community outside of school because, again, most of the people that were there were, like, 10 years my junior. Yeah. And so I think I was already kind of rooted in, like, a knowing of who I was.And so I went to school, like a job, and I was there to learn, but also to, again, share my perspective on the world. And so I think a lot of my influence was coming from outside of what was happening.I was taking the knowledge that I was getting and kind of funneling it through or filtering it through my lived experience and the experience that I knew that other people were having.

Okay, man, that makes. That makes sense. I had to keep thinking like, yeah, you were like. I remember when I went to school, I was like, right.Like, maybe like 17 years old, you know, in film school. And, like, thinking back now, maybe, you know.Cause I think folks, like, I'll have these conversations of going back and forth like, oh, should you get your MFA or whatever? And just thinking, as, like, the age I am now, thinking, like, oh, I probably would be, like, maybe a more serious dude.Not that I wasn't then, but I think it is a different perspective. What was your first film?

Oh, geez, would I consider my first film?

Okay. Yes, let's do that.

Oh, my goodness. I can't remember what it was called, but it was about. And you probably could find it on maybe, like, Vimeo right now.But it was about this lady who couldn't stop saying some type of, like, curse word or something. Okay, child, don't get me to lying.But I will say, like, the first film that felt like me, like an authentic representation of me, is a film called Monita, which starred Bella Boz. Shout out to the west side.

Okay.

The west side revolutionary herself, Bella Boz. And it was, like, her first time ever acting in a film, and it starred her. And there was a voice in it, which was John, the author.And it was about, you know, a young woman who has to make a decision about whether to keep her child or not based on, you know, this relationship that she has. What feels like a tumultuous relationship that she has with this young man.And that felt that, you know, I had written it and directed it, and that felt like, okay, now I'm kind of learning who I am as a storyteller, as a filmmaker.

Yeah. And then, like, you had. Did you have to, like, screen that and get feedback from your classmates and stuff?

Yeah, I definitely did. But that film did A lot for me because I was able to kind of like, shop that around and show it at a few places.And, you know, it was really nice to be able to talk about that work and to. About what's happening in this film. Again, because we're talking about something big, but interpersonally is how we're experiencing it, so.

Wow. Hearing you talk about this makes me even think, like, oh, yeah, you're definitely treating school as a job.Because when I went to film school, I'm like, okay, first short, turned in, off to the next. I wasn't thinking, like, you know what, maybe I should organize a panel. It's funny, my first film, I feel, was around pregnancy as well.And I never was like, oh, maybe I should talk to my friends about this, or whatever. It's like, turn it in, get the grade, go to the next one. So I was. That's so smart. You have, like, an entrepreneurial thought. I don't know.That's like, really. That's like, really smart.

I mean, I screened it places, you know, I was able to screen it and put it in certain places.

Was that encouraged in your program?

I mean, they talked about certain things, but again, because I had a life outside of school, I wasn't relegated to just what was happening in that vicinity. I was out in the world, too.

Yeah.

Building myself up as a socialite and a community member.

Oh, I love that. How does one do that?

You gotta be outside. You gotta be outside.

How many times a week did you go out in this to be a socialite community member? You think for a beginner, somebody wanted to be one?

If you wanted to be a. So I think that, again, I use the word socialite, but I think a village person. I'm more of a village person.

I think it's a fun term we get.

Yeah, yeah. And I think, you know, the big thing about that is show up for people without the expectation of getting something back immediately.You know what I'm saying? Sometimes, you know, I'll support people and a collaboration will never align, and that's okay.But, like, I still rock with what you do, and I don't need to be a part of it or we don't need to do something for it to be valid, you know what I'm saying? And so I think that that's a big thing that happens.I know so many people want to feel supported and be supportive with what they're doing, but a lot of that work, that groundwork, is actually showing up for other people and not just when you want Them to pop out for your things and you have something to market. But genuinely, because it's like, I like what you're doing or this is interesting, or, you know, I want to get to know more about you as a person.And I think, you know, the ways that people present themselves through their work is a great way to start to learn who folks are.

Yeah, I ask that.Cause I know like at the show I'm working on, there's you know, like intern program and they're always like speaking about like having like social anxiety or being scared to go out or like how to talk to people. And I do think it's important to like. I'm like, guys, it's just like hanging out. Just pick out places to go and hang out, you know, that's it.So I ask because I feel like you are. You always seem to be like outside and like hanging out. Like you'll organize things and it seems like it.

I'm outside enough.

Yeah. You're like my posting strategy. I'm glad. Gives like a good impression of it. But no, I think that that's really cool. The summer.Was it this summer when you were doing like the line dancing classes?

Yes, this was a couple of years ago.

Years ago. Oh my God, what a story.

I think it also just like that that's brings me to another point. It's just like contributing. Contributing to community. And a contribution is something that folks don't have to pay for.

Yeah. Yeah.

That's an actual, you know. Yes. You can have things that, you know, are for the culture, but a lot of things that are for the culture are. Are still for sale.And so I think contributing something that just show up to. And there's no barriers except for like being able to get there is another way to really build yourself as a community member. As a socialite.

Yeah.

So, yeah.

I love the word socialite. It's just so fun. It just makes me think of Sparkles, which I love.

Very high brow.

Yeah. Which I'm always a fan of.

Even if very upper echelon.

Yes. With my jj. Okay. Oh my gosh. So now you're like making films. What is a. You think like Briana, like what kind of film is you?

I do love. I think I tend to lean into like documentary but experimental in nature. Okay.

Yeah.

You know, I. I think I love real stories. I love to talk to people. I love to pose questions. I'm such an inquisitive person. I'm such a curious person.

Me too.

Yeah, obviously. Right.But it's just like how do I then take this and present it in a way that feels fresh, that feels visceral, and that's where the experimental element can come in. I feel like that's what I'm drawn to. What I would love to move into as a filmmaker is dramedy.

Oh, my gosh, please.

Relationship dramedy. And when I say relationship, I don't just mean romantic relationships. I have a fondness for friendship.And I feel like, as a society, as a community, we don't value friendship enough. We're not intentional enough about friendship in the way that we are about romantic relationships, which is by design. Right. Like, we are.We are sold romance as, like, the ultimate type of love that you can have. But, like, there's so much romance and friendship.

Yeah.

And what. Ha.What would happen if we actually kind of like, showed the tension in that, you know, when your friend hurts you, what does that conversation look like? Or, you know, when you're having the best time with your friend and somebody that is a romantic interest comes into the fold?What does that actually look like? And how does that. How do you handle that in a friendship?I just think that there's so much there that is, like, untapped that I would love to explore.

I would love for you to explore that.One of my favorite things to do is get on a TikTok doom scroll of friendship stories of, like, friends that have just, like, done stuff or, like, fun things, fun trips that people have taken. But unfortunately, there always seems to be, like, my friend came on this vacation and did this, and can you believe that?And I'm stuck at the hotel right now, and it's just, like, all this tension around friends. So I do think that, like, friend stories are, like, really, really good. And I get more of that, more of that, and fun and happy to be.

And it's set up like a ROM com would be set up, though, Right. Like, there's a formula for ROM coms. But, like, what if it was like, yes, it's rom com, but it's friend rom com or something? You know what I mean?Like, because those are love triangles too, where. You know what I mean?Even with family, these are dynamics that shift and can be really, really interesting when, you know, just another person comes into a fold or there's, you know, an opportunity that comes into the fold. These things affect these relationships that are really close to you.

Yeah. It's just people always getting into stuff, and it's like, why are you doing that?

I'm hopeful that I can move into

that Lane, are you a Hallmark fan? Hallmark movie, Lifetime movie fan?

I wouldn't say that I'm not a fan. Do I watch them? Not really.But, you know, I grew up in the era of B movies, so I always had a dream as a filmmaker to, like, what if we, like, made B movies? Like, what if our goal is, like, let's make B movies, but, like, really, let's elevate the quality of the B movie. Yeah, right. Everybody.And I understand it, you know, everybody wants to make something that's, like, Oscar Award worthy and Academy Award worthy or, you know, Golden Globe Award worthy and all of that stuff, but it's just like, what if we really lit up Tubi with, like, some really good stuff.

Yeah.

Like, and it. And it wasn't a joke. Like. Cause I know the girls like, oh, yeah, this is crazy on Tubi. And it's not. Well, it's not well done. Like, the.The ideas are there, the imagination is there.And I think that that's what I really appreciate about, like, Hallmark movies or Lifetime movies, although Lifetime is just like, they're just sourcing material from the newspaper.But even so, even to have the vision to be like, there's so much interesting thing, there's so many interesting ideas or so many interesting stories in real life. Let's dramatize this. Like, let's play it up and let's make it a film. I think that there's so. Imagine so much imagination in that.I just think that, again, because we're in an industry, sometimes the creativity is sucked out of it. But I'm like, what if we just are like, yeah, let's just tell the best stories that we can.Let's have some good structure, let's have some good plots, a good conflicts. Let's have some good performances.

I mean, I just feel like everybody else is getting these Lifetime deals. I would love an experimental dramedy series, like, with Lifetime.

Just like, why not?

You know, just like. Like three films. Let's just give you three.

Listen, I'm not mad at Tubi. I'm not mad at a Tubi. There's a. A cute. A few of them Freevee, whoever.Like, all of these smaller kind of like, platforms that are, you know, putting filmmakers stuff up on, you know, you know, platforming them. I think that that's great.

Yeah. Even. I mean, I throw Lifetime movie parties. I just.

Do you really?

Yeah, I just think they're so ridiculous, you know, and they're. And I feel like now people are starting to get in on the joke. You know, and it's like.But yeah, and you do say, like they are pulling from the headlines on stuff. So, you know, there are cases where you're like, oh my gosh, I can't believe that. But just like the.

I mean, they're usually based. They're based on a true story and the base is doing a lot of the heavy lifting there. The true story is not doing the heavy lifting.The based on is doing a lot of the heavy lifting.

I just love it. And the extras are always doing the most in there. Cause this is their.

That's their opportunity, honey.

That's their opportunity. I'm not mad at it.

Somebody might see them and be like, okay, let me put you in something for real.

You really might, though. So you have to take the opportunity when you can. Oh my gosh, Briana, what kind of director are you?Are you the kind of director that you have your hands on your hip and you're watching your actors play out? Are you at the monitor mouthing out the words? Are you telling them, Follow me.

I'm a collaborative director. I was talking about this earlier, but I'm a big believer in trusting people to do what you have asked them to do.And you're asking them to do it because you believe that they are knowledgeable in that. You know, I don't work with people who are robots. Right. Like, so for me, I wanted to be collaborative. Like. Yes.Do I have my vision and I have my way that I imagine things to be? Yes.But when you bring human beings into that that have their own life experiences, their own perspectives, their own moral codes, I think that, you know, it's like everybody coming together and making a stew. I'm creating the foundation. I'm putting the basics in there.You know, your onion, your garlic, you know, your celery, your carrots, your broth, your salt, pepper. But then there's, you know, somebody might come in and throw a little bit of parsley on that. Yes.You know, somebody might come in and throw a little cayenne pepper on that. And that's what makes it full bodied. You know what I mean? So I like to be collaborative.I think that in that I have to have kind of like non negotiables.

Okay.

But for the most part, you know, even with a DP or something like that, like, I'm working with you because I am looking for you to look at my vision from a different lens and incorporate your voice into it.

Yeah. It really is so collaborative, isn't it? Such a collaborative medium. Yeah.

I mean, for some people. It isn't some people. It's just like, I can't do this by myself, but I'm the captain of this ship, which I still am, but. But, you know, it's.Some people run it like a. Hey, do what I say and do it how I say.

Right? Yeah. I've seen directors do that. Like, they say, follow me, do this, and I'm like, wow. And the actor will do it sometimes. Yeah.Have you acted in a film before?

Well, I just did voiceover for a film.

Oh, okay.

So we'll see how that goes. Yeah.

Did you like it? What was the movie directed?

I think acting is.

It's.

I didn't even. I wasn't even necessarily directed. I just wanted to. I was kind of directing myself. I got some.A description of, like, what the person was looking for, and I was like, okay, you know, as a director, what would I want? But it's not an easy thing to act. I think that people think that acting is performing someone else, and I think acting is more.And it's different for everybody. But I think it's like embodying, like, finding some commonality in someone, trying to understand someone so that you can embody them.Because I think when you just see somebody as, oh, they're bad. Oh, they're good. Oh, they're insecure. Oh, they're cocky, it really flattens who that character can be.And we want to believe that a character is a person or could be a person or reminds us of somebody that we know. And I think that creating layers and nuance and complexity is really, like, the key.But that's a very, very difficult thing to do because people don't even have nuance and complexity as real people.

Oh, my goodness.

No shade. Yeah, it's true.

Guys, start to journal out there. Please take some time and just have some prompts,

Question, ask questions, be curious. But, yeah, it's not easy.

No, it doesn't seem like. And especially if you have a bunch of people watching you too, you know, or like, to do things over and over again.You know, we all have that cousin or ex who tells you that they need to be an actor, and you're

just, like, based on. And I think that it's cool to give people opportunities, take notes.That's the other thing that's really critical about being an actor is being able to take notes and, like, alchemize that and deliver something different. Mm.

Yeah. Well, you guys, we're gonna take a quick break. We are here with Briana, clearly, and we Will be right back. Real Talk.How many opportunities have you bookmarked and never applied to? I know I have. And you know what? It happens.The admin part of the work we're doing is understandably boring and tedious, but when you neglect it, it can cost you real opportunities. That's why I created artist admin hours. Because behind every exhibition is a clear budget submitted. That makes sense. Admin is the flex.It's the work that makes the work work. But you don't have to do it alone. Every Wednesday, 7 to 9pm Central Artists show up on Zoom to tackle what we've been avoiding.Residency applications, grant apps, budgets, invoices, whatever's on your list. Two hours of body doubling with straight structure, no shame, and real community, 25 to 45amonth gets you in.But if that's not doable, email me, because getting this done is very important. We will make it work. Stop letting admins sabotage your practice. Join us today at artist admin hour.com. WLPNLP Chicago 105.5 FM Lumpin radio.And we are back with Briana, clearly.

Hi.

So, you guys, Briana has this program, Filmmakers Mixtape. Briana, please tell us about Filmmakers Mixtape.

I'm gonna try to give y' all the Cliff notes. So the origin of Filmmakers Mixtape was I had kind of hit a bump in terms of, like, creating, and I was like, I just. I need to figure this thing out.So I had tried to see, you know, what other people were doing in terms of, like, making films in a way that was. Dang. What's the word? I cannot think of this word. It's a P word.Anyway, people who are just kind of like, making films back to back to back and just doing it as a practice. And so in 2019, I decided that I was going to make one film a month for the entire year. I was, like, really, really excited about it.I started off, like, really, really strong at the top of 2020. Know what happened by March, but I was already in it. I was committed. And so, Yeah, I made 12 films as a result.It was, at the time it was called BC 12 for 12. Briana Quilly. 12 for 12.

Yes.

And so I felt good about finishing it. I had gotten a lot of opportunities as a result.And then I think around 2020, I was kind of feeling like, huh, I should bring this back in some way, but do it for other people. And so I came up with the name Filmmaker's Mixtape, which felt, you know, very appropriate. Yeah, because I really have.I have a lot of admiration for independent artists, hip hop artists who are like, I'm just. Just putting things out there, and they're simultaneously, like, learning their voice while also building an audience.So that is really, like, the inspiration for it. So I was like, how can you do this as a filmmaker?And so I started with a podcast, and I was like, well, you know, people could just listen to the podcast, and if they want to do it, they'll do it. And a couple of people had said to me, like, why don't you have a cohort? And I was like, oh, yeah, I guess that kind of makes sense.And so December, I put out an application. By December 14, I had closed the application. I want to say, within, like, a week, I picked six people, and we were off to the races by January 1st.Ashley. Wow.Within the first quarter, three people were no longer part of it, but the last three that I had as part of that inaugural cohort made it all the way to the end, and we were, like, really making a splash. So.

Wow. Yeah, that's so okay. So you. When you decided to do it for yourself.

Yeah.

You made it public. Like, you're like, I'm doing this project.

Yes.

Because I do hear folks say, like, build things out loud.

Yeah.

Like, can you talk about that versus, like, just doing it?

Yeah. The main thing about this was, and I think it's honestly, the most important thing was to make it and then release it publicly.Actually, that's if you're not actually doing the challenge, if you're not releasing the work publicly, because you need to be able to get feedback, you also need to be able to exercise the muscle of sharing even things that you don't feel are good. I think a lot of times, as artists, we are our toughest critic, for sure. And what I've learned is, like.And what I tell my cohort members often is, like, your taste level is at a certain place, and so it may be below what you think is good, but somebody's gonna look at this and be like, wow, that's amazing. That's so great. You made this with no money. You made this in 28 days. How'd you do that? So, yeah, that is a critical piece.Is, you know, stick to the guidelines. Don't spend any money, because that also forces you to, like, lean on people. It forces you to ask for, and then release it out into the world.

Wow. So no money.

No. The only money that you. That is kind of allowed is to feed people.

Yeah.

That's just the right thing to do. But in terms of, like, Renting equipment, renting locations. It's a lot of rigmarole. That's not necessary to make a good story.

Mm. Wow. What was your. When you did this for yourself, did you have, like. What was one of some of your, like, favorite films that came out of it?

I had a film called idkwtf. Tbh.

Okay.

And this was, like. I think it was released either the end of. I wanna say maybe the end of May. Maybe it was a little late.And this was, like, right after all the George Floyd thing happened. And it was just like a visceral type of thing of just, like, scrolling.Scrolling and just seeing the cognitive dissonance that was happening between people talking about protesting and people talking about Black Lives Matter. But then there's also people who are just, like, making content and, you know, dancing and just doing wild. You know, like, just, again, trying to.Trying to find a way to separate themselves. That was one of my favorites.I also did a film for my birthday kind of that was, like, archival footage from my phone, like, me with my friends and actually talking to some of my friends about, you know, memories. And it's called In Loving Memories. And that was a really special one for me. A lot of them were very, very personal. Just because of the time.Yeah, the time constraint. And also the time that we were in 2020. So.

Yeah. How long were they.

I don't think I had anything that was over, like, four or five minutes.

Oh, okay.

Now my cohorts.

Yeah. What?

They love a long film. I think the longest might be, like, 20 something.

Wow. Do you have in. In the cohort? Oh, and by the way, y', all with Filmmakers Mixtape, the applications are open

till tonight, till February 20th. If you're listening to this right now, February 28th, they are open until 11:59.

Yeah. PM and then really quick with that. Are you. Is it just you going through the applications? Do you have, like, a team? Are you.Do you feel comfortable talking about that?

Yeah. So what I do is I usually shortlist, and then I have a few people that I trust. Some are artists, some are not. And that is also by design.I have them go through and with a rubric, kind of determine. Okay, I like this answer. This feels aligned. This doesn't feel aligned, whatever. So that's how I do it. I don't want it to solely be my decision.I want to make sure that I have other eyes that are saying, hey, yeah, I think that this person has it. But, you know, I. I trust my gut. When I see people. I can usually feel like, this is a good candidate.

Yeah.I think thinking about this project, it gives me such anxiety because I think working with film crews, I know like how much it takes like with like, you know, the Hollywood system or whatever to make stuff. And then I'm always thinking about like, okay, how can you like split this in like a 16th, a 30th?Dude, it takes so many people to obviously make a big TV show, but solo filmmaking, I'm always impressed with folks who can just make films by themselves or they take their time to work on films. And so I think. Cause I've just been around that so much. I'm always just like, how to do this? Cause I love that challenge.And I totally resonate with you. Like feeling sort of stuck and then being like, okay, let me like push myself to like do something.Cause now I just need to like, get back in the mix. It doesn't have to be perfect. And so I guess I'm just rambling all that to say, like, who's the ideal candidate?Candidate for this project, for this program? Are you calling it a program? Is it a program?

That's a program. Yeah, it's an initiative.

Initiative.

I mean, it's a challenge. No, that is really probably the most accurate way. It is a film challenge. A 12 month film challenge.I think the ideal candidate is someone who has enough foresight to understand that, you know, in 12 months a lot can happen and you need to be able to say, okay, I know that these things are a possibility and I'm going to commit anyway. I think the ideal candidate is someone who can allow themselves to be vulnerable.Because this is not just like filmmaker work, it's person work as well. Someone who can take feedback.You don't always have to listen to everything, but to actually take it in and be able to listen and be able to apply it. I also think the ideal candidate is someone who can learn how to pivot. Um, it's. That's what it is. A lot of it is.Things didn't work out the way I planned, but I still have to do something. And so, you know, somebody who has enough resilience and grit not to give up on themselves.

Yeah. And are they would like a candidate be already somebody making art? Or couldn't it be just.

No, I mean, I've had two people. Well, I will say this. So for the first cohort that I had, there was someone, Felton Kaiser. You should all go support him at Monday coffee.He was a photographer. He is a photographer and he was making video content. But he Wasn't a filmmaker.And so, you know, he came in with, like, no knowledge of how to write a script or, you know, how to edit in a way that tells a cohesive story. And he left a filmmaker.

Oh, cool.

This past cohort, Sydney Hart, who is really, really phenomenal and does production things, had done production things, but wasn't a filmmaker either, was able to take, you know, a lot of her skills from her job and apply it to filmmaking. Very, very organized person, very thoughtful person. And on the other side of 12 films is now, you know, a legitimate filmmaker.So you don't have to have filmmaking experience to do this it. But there should be some skills that you can apply. It does help if you have editing skills.It does help if you, you know, because sometimes you're not going to be able to find somebody. So you have to be able to get in the trenches and do it. But again, you don't have to necessarily have the experience, but if you have the curiosity.And I think that that's another one of those things that you. The ideal candidate is curious. I think that's really, really important.

I think it's so generous of you to, like, open up yourself to be able to support filmmakers in this way or, you know, folks who will become or are filmmakers. How do you balance that? Cause I know you're working on your own, your own project right now. How do you balance the two?Or have you been working on this feature for a while while you did the other cohort?

I'm currently working on a feature right now. Six years of life.

Being a mentor.

Yeah, I mean, I think it's because I love it, which is kind of crazy to say. I never felt like I had a passion even for filmmaking. It was just like, I don't know that I'm passionate about it, but I'm committed to it.But I actually really do love mentoring people. These are my film babies. I've had now eight cohort members. And I love them. I'm so proud of them and what they. They've been able to accomplish.And I knew, I think, the whole reason why I started this cause I was like, you know, I can only have so much impact as a singular person, but if I can get out of the way and just guide and lead and contribute to other people's stories, like, I'll have much more of an impact that way. And so, yeah, I think that that's why it is generous, maybe, but it's also, I feel like my purpose.

That's really kind.

Thank you.

Are you an Only child.

I am. I grew up as an only child. I have younger siblings on my daddy's side, but I didn't grow up with them. So yeah, I grew up as an only child.

Yeah, I'm an only child. That's just so, so nice that you're sharing, you know?

Yeah. I mean, again, you know, I want to make sure that we're spreading the gospel. I want more people to know about it.I want more people to know that you can do this as a practice. We don't have to take it so seriously. Yeah, that's as if it's life or death.And I think removing some of those barriers that we create, those self inflicted barriers really helps, I think. You know what I tell people about filmmakers mixtape is like, like, you know, making good films is a side effect.It's not actually the point of the challenge. You don't have to make anything good. You will. Yeah, you absolutely will. Right? We're gonna do the best that we can, but you don't have to.And I think when you remove that kind of pressure, it really allows people to flourish and thrive.

Yeah. So I really love that. Yeah, I think. Yeah. I'm always trying to battle perfection. Like stuff has to be so perfect and so tight all the time, you

know, you don't have time for that though, in 28 days.

Yeah, you really don't.

And I think that that's also like the magic in it is like, yeah, you're locked in for 28 days with this thing and it's stressing you out.But come the first, you're on to the next and you're not even thinking about the stress of the previous month because it's behind you and you have to lock in on, on the new thing.

Right. Well, you're such a valuable community member. How can the community be valuable back to you? Like, what do you need?

Ciao. Well, you know, I actually am. I'm hoping to. Well, I am planning to actually expand beyond just me.So I'm thinking about what it looks like to bring on some support. So look out for that. I'm going to be putting out like a job. A hiring post. What is that? I don't even know job is called.Yeah, like, yes, I'm going to be now hiring. You feel me? Like very, very soon. Hiring soon. But I think beyond that is just like keeping up. Follow us on Instagram.There's a lot of things that I'm currently working on. I mean, I'm only in year three, so this is a baby. It Genuinely is a baby.

Um, and you're enjoying it?

I'm growing it. Yeah. I'm growing it. It's. It be. It could be stressful.

Yeah.

But I'm. I'm really enjoying it. So I have a lot of ideas and just a lot of things that I'm putting in place.Um, you know, working on the website right now, getting that together. I'm working on a handbook for people who want to do the challenge, but maybe aren't Chicago based or can't necessarily be a part of the cohort.I'm working on something physical that people can utilize so that they can do the challenge themselves.

Teach training or something.

Yeah, it's. I mean, it's a very thorough. Like, if you want to do it, here are the steps.

Yeah.

So, yeah, I, I think. And then once we start doing events, come look for the cohort. Look for ways that you can help the cohort.I mean, this is, you know, I. I say this to the cohort and I kind of want to say this publicly. Like, like, this is not charity work that people are doing. People are also able to, you know, add this work to their portfolios.

Yeah, Nobo thinks of it as that way.

Yeah, I. I don't know, but they should not.

They better.

You know, I had. I had two cohort members back to back from Brain Studios, Ken Marie and Brendan Smith. And you know, their dp, Gary.I mean, he worked on so many of their films, and he was able to add that to his profile, to his portfolio and his body of work. And so it really brings everybody up, everybody that decides to commit to it is able to say, I was a part of this. I did this. I built my skills up.I improved my skills. I learned who I am as a dp, I learned who I am as an editor. I learned who I am and how I am as a producer, as a writer.So it really is community work. And that is like, so, so, so important for folks to know. Like, this practice is rooted in community.It's set up so that you can actually lean on community. A part of it. And everybody. Everybody eats.

B. Yeah, I love that. Wait, do you do any other. Besides filmmaking? Do you have any other art practices that you're interested in?

Art practices? You know, there are some things that I'm trying to get into.I'm currently, like, I feel like I'm in my athletic era, so I skate regularly, which I love so, so, so much. I do a lot of recreational activities through a really great org organization ran by my friend Paige called League of Their Own Chicago.And in terms of. In terms of my own art practices that I. I would really love to get into junk journaling. I'm so.Yes, it gives, like, I really feel paralyzed by trying to do it, but I would really love to, like, know what it feels like to just let go and just start pasting stuff in a journal. But, yeah, I would. I would love to. Junk journal. I don't know if I'm set up that way, but.

Is that also where they, like, put all those trinkets on the journals, too?

They put trinkets, but it's kind of like. It's a. It's a sustainability practice.It's kind of like collaging, but doing it with, like, receipts or wrappers or, okay, you know, ephemera that you might get, like, flyers from an event that you might go to, ticket stubs, all kinds of stuff that you just kind of like. It's, like, found stuff that you put together.

Yeah. Like scrapbooking.

In a way, it's like scrapbooking, but it's. It's. I think the. The material that you use is kind of what separates it from. You know, people use all kinds of stuff.People use, like, the stickers from fruits as something that they could put in a junk journal. It's very, very interesting.

I think my friend's kid was doing this with yogurt. With the. With the lids from yogurt containers.

Precisely.

Yes, yes, yes.

So I. I love the idea. I love the. I love the. The ethos around it. Will I do it, child? Tbd.

I know. It's always something. It's always something. Well, you know, I want to get into some fun little questions. I would like ones to see if you are down.Oh, my gosh. My notes. Where do my notes go?

You got it?

I do. Okay, here we go.

I.

All right. What stranger do you still think about sometimes?

Stranger?

Yeah. Like, I mean, I. For example, I saw a couple getting into an argument, and then I saw the man say, you know what? I've had enough.And he stormed off, and then, like, drove away and, like, looked out. Looked out his car. And I sometimes would think, like, where did he go after that? Like, what was that about?

I don't. I don't know that there's, like, a person that I've never met or just witnessed that comes to mind continuously.

Do you have a guilty pleasure?

See, I don't know. I don't know that I have a guilty pleasure because I don't feel guilty about my pleasures.

You know, that's really good. That's really good.

I don't feel guilty about my pleasures now.

It's making me think, like, is that even a necessary question? Because I don't.

I think that it's cute. I mean, I think that some people feel like way, but I don't know that I feel guilty about my pleasures.

Like, are you into karaoke?

Oh, I love karaoke. I grew. I'm a karaoke kid.

And your go to song is.

Ooh, I love Rihanna. Rue boy.

Okay, that's a good one.

I feel like that's a good one.

Yeah.

And I love a little Kim.

I love little Kim so much.

Yes, honey.

He's my favorite.

I love Kimberly Denise Jones.

I am looking for. Did you ever see the portrait Annie Leibowitz took of Lil Kim?

No. Wait a minute. I probably have seen it.

Yeah. It's like, sort of sheer red and like, she has blonde. I'll show it to you, but I've been looking for a print of it and I cannot find it.

Okay.

I just made like a. I just made a photocopy and hung it up.

You gotta do what you gotta do. You do.

Okay. Choose between the two. Money or happiness

as a Taurus. This is. This is crazy. Happiness, because it includes. It includes financial freedom in a capitalist society.

Okay, would you rather fly or have a super strength?

Ooh, fly.

And then expensive presents or homemade presents?

This is not fair. Dang. I'm so bad at stuff like this because I'm like, but wait a minute. But what about this?Like, if you can afford the expensive present and that's thoughtful for you. The expensive present. But if you can't afford it and it's sincere and it's genuine, then the whole may be present.

Okay, that's very nice. It's not like you're gonna be like, if it's not expensive, don't bring it.

No, I'm definitely not. That's not nice. Yeah. I'm not a girl like that. I mean, some rock like that and more power to them. I'm not that type of person.

Isn't that terrible that people act like that?

I'm not judging.

You're right.

Do what you gotta do, sister.

I'm like, come on. But when I was thinking about that, I was like, oh, expensive. So what do I. Who am I?

Right? We want the nice things. Let's not get it twisted. We do love luxury. Let's not get it twisted. But it ain't tricking if you got it.

Are you the kind of person that would kill a bug. Or are you going to collect it and bring it outside?

I'm going to take it outside if I can.

Wow, that's really nice.

Yes. I'm going to be like, girl, why are you in here going outside? Be free.

What's your. Do you like ice cream?

I love ice cream.

Your favorite flavor.

I'm gonna tell you what I buy the most. I buy butter pecan the most for the culture. And if you don't know the history on butter pecan, look it up. It's the last day of Black History month.Look that up.

Yes, please. What about cookies?

I like cookies.

Your favorite.

I feel like I could always rock with an oatmeal raisin cookie.

Okay.

I feel like, I don't know, maybe it's cause like secretly in my mind it feels like, okay, this might be a little bit healthy. I also like a macadamia nut cookie.

Okay.

I grew up with macadamia nut cookies.

That's fancy.

That's old school.

Yeah. But I could totally see myself riding my bike from your house being like momia nuts.

Yes. Cuz they have like the white chocolate morsels.

So good.

Tasty.

At a carnival. What would be your favorite ride to go on?

Ooh, I actually really like the carousel.

Okay.

Yeah, I do like that because it's like I'm not gonna get dizzy. Yeah. It feels a little bit more exciting than the Ferris wheel.

Yeah.

And it's just very, very playful. It's very good for the inner child of carousel.

I love that. And then do you have a favorite comfort food?

Ew. As a tourist, anything that I have a taste for is a comfort food. That's really hard. The comfort food part is hard.It's definitely going to be some carbs, you know, a pasta, a rice dish, a potato, something. It's going to be corn carbs, you know, a Mac and cheese with the crispy top.

Oh, yeah.

I think that when I think about comfort food, it's gonna be, you know, some. Yeah, like a Mac and cheese with some cornbread, some greens. I might have to make that.

I love that. If you weren't a filmmaker, what would you be?

A socialite.

Yeah.

You know, I, I honestly, I dream of a life of leisure, as they would say on Bridgerton. I dream of a life of leisure, honey.You know, I would just be able to travel and, you know, throw dinner parties, you know, just do really cute things.

Yeah. Do you host a lot like yourself?

I. I had a. I feel like I had an era. I might get back into it. I might get back into my, you know, hosting era. I do love to. Yeah. Just be. Have a key with the.With the people, with the folks. So.

Yeah, yeah. Who knows, you know, what is. As we wrap up, what's like, one thing that you hope that folks, like, take from your films?

I would say more than take from my films, but what I would want to impart onto people about filmmaking is to look at it the same way as, you know, a musician or a painter, a writer. Like, look at it as a practice. One thing I don't feel like people do enough is, like, remake work. If you don't like it, it's okay.Just redo it, but do it first, you know what I'm saying? Like, you can't edit in your head. And so I really want to just impart. Like, the practice of filmmaking is really, really important.And in order to practice, you have to do like, that's the. Otherwise it's study.

Yeah.

If you're not practicing, you're studying. And they are not one in the same.

No, they're not. Gross. I don't want to be studying. I want to be making.

I want to be doing so. And that's where, you know, the lessons are. And again, it's. It's personhood. You're.You're going to learn about yourself as a person through the practice. So that's what I would say. And in terms of my films, just, you know, look out. I'm working on my first feature.

Congratulations.

It's awesome. Almost. It's almost done. We cooking with Hot Grease right now and it should be done very, very soon.And so I think when it comes to my films, you'll know who I am for my films.

That's really exciting. Briana, thank you so much for being here.

Thank you for having me. Did I do well? Did I do.

Oh, my God. Yeah, duh. Oh, my God. Wait, so really quick, the application.

Yes.

Where. Where can we find it?

If you go to Filmmakers Mixtape on Instagram, you can find the link there. You can also find it on the website. Is it done? No, but can you apply? You absolutely can. That's all you need. So, yeah, go to @Filmmakers Mixtape.It is spelled the way that it sounds. F I, L, M M A K E R L S M I X, T A P E. And you can find me at Briana, clearly.And it's Briana with one N, B, R, I, A N, A Clearly, like, obviously, duh.

Thank you all for being here.

Thank you.

See you later. Bye. That's a wrap on another episode of noseyAF Conversations about Art, Activism and Social Change. I'm your host, Stephanie Graham.If you enjoy enjoy today's conversation, please leave a five star rating and review wherever you are listening to the show. It helps new listeners discover it and say, hey, if these folks like this show, maybe I will love it too.Check out full show notes and transcripts@nosyaf.com and while you're there, sign up for noseyAF Dispatch, a newsletter where every month I send a roundup of episodes, behind the scenes stories, studio tales and interesting finds straight to your inbox. Thank you so much for your time today. Thanks for listening and as always, stay curious and take care. Bye.