463: Playing BIG and holding your own with Hannah Lux-Davis

Hi, everyone. I'm so happy you've tuned into the show. Whether you have listened before or you're brand new, I'm so grateful for you. You have no idea. And this episode is brought to you by my Become Aligned course. And podcasts are amazing. And I know that you know that because you guys all listen to them, and I do, too. And sometimes they are not necessarily enough because while we're listening, sometimes we're passively listening and we're not actively listening. So the reason that Chris and I. Chris is my husband. The reason we've created this course is because we get asked so many questions outside of the podcast on how we started living the life that we live now. A life of happiness, of abundance, of really understanding that life is always full of problems every single day, but there's always a solution. And how do we shift back into a mindset that's going to keep us happy, keep us together, keep us successful, and keep us in thriving relationships? And that is what our, our Become Aligned course is about. You guys, we cover everything from mindset to the rituals that we do every single day. We talk about different energy sources that's really gonna provide you with lasting energy. We talk about your purpose and what that actually means, what it is and how it's ever changing. We're gonna tap into your beliefs, we're gonna show you how to build a tribe to support where you're going. And we're definitely going to talk about wealth, abundance, money, all of the good things, and how to sustain all of this. Because while, like I said, POD are absolutely awesome, you don't necessarily sit down and actually write out a plan for yourself. Because as much as I can sit here and tell you on the podcast, what we do and how much, how many different people that I can interview, it's important that you actually learn how to apply these things in your own life. So if you've been listening for a while and you are ready to go deeper and you really want to get some direct training and be able to dive into your life and yourself and your mindset, this is the course for you. I don't know about you, but I absolutely have points in my life where I don't know where I'm going. I don't know what I'm doing. Sometimes I hit walls where I don't necessarily feel happy anymore, and I haven't sat with myself long enough. I haven't really let myself think. I haven't written out how I actually feel. And so many people who took this course said that it was completely life changing and they revealed a lot of things about themselves, about them, about their. About their relationships that they weren't really looking at or they were avoiding. And it's about having those tough conversations, not only with other people, but really with yourself and knowing that you have the tools and the access to the tools. And we're going to teach you all of the tools that you need not only to move through things, but to actually thrive on the other side. So, you guys, I would love for you to join the aligned community. It's such a special group of human beings and you get lifetime time access. This is nine different modules where you're going to be working through each area of your life at your own pace. So you might need something on abundance, you might need more on, you know, money, you might need more on your purpose on your tribe. This is where you can really go deep on exactly what you need and make sure that you're not missing any of your blind spots if you are feeling stuck or if you are wondering how everyone is doing it and how they're managing it all. This is a truly honest course about how to have a thriving life and manage and deal with all of the different problems that do come up in your life and understand that not everyone is going to support you and not everyone is for you and you are not for everyone. And that's okay. It's finding your people. It's forgiving yourself. It's creating a life of abundance and choosing your own purpose and your happiness. So, you guys, you can go to becomealigned.com that's becomealigned.com and you guys know that because you're listeners, I'm going to give you an awesome deal and an awesome discount and I cannot wait to see you in that community. And also let me know if you join because it is such an awesome, awesome community. And also I'm really proud of this course. Chris and I poured our heart and our soul into this. Everything that we've done, everything that we've learned, we've invested so much into ourself that this is everything that we have applied in our lives. And if you want to know how we've done it, we put it all on the table. We've put it all in this course. So if you want to know, go check it out@becealigned.com so let's get into.

The show.

And I think people often, like, assume that we all maybe do the same thing and sometimes we do, but it's really hard to, like, Learn how to be a director.

Welcome to the Earn your happy podcast. I'm Lori Harder, founder of The Bliss Project, 3 Time Fitness World champion, fitness expert and cover model turned self love junkie, lifestyle entrepreneur and author. Each week I'll bring you a guest or a thought that will help you bust through your fears, connect to your soul and get focused and clear so you can elevate your life, business and relationships. We don't wait until we're ready for someone to tell us we're good enough. We take what we want and we anoint ourselves. Get ready to earn, own and unapologetically rock your happiness every single day. Are you with me?

Here we go. Welcome back to the podcast.

This conversation and guest just blows my mind. Not only because this woman is so crazy talented. And when I say crazy talented, you.

Will learn in just one minute.

But she is the coolest homegirl. So unassuming, so fun and just completely the girl that you would want to be best friends with. And I think that that was just the most beautiful. Amazing surprise for me is when I got to meet her at a lunch event that I was invited to from Jacqueline Johnson of Create and Cultivate. I was invited to a lunch outing with like 20 other women and I sit next to this woman who I had just essentially met because we met online and it's so cool, you guys. She had tagged me in Insta Stories that she was reading my my book on her honeymoon and I was like, who is this girl?

Like, she has got all these amazing.

Pictures with all these incredible people and first of all, her wedding dress was just to die for. So I was just roped in by.

The wedding dress, which I talk about.

This story in the podcast, but I have to tell you that I had no idea what she did for a living because she was so kind and so freaking awesome and so interested in.

What I was doing that I was.

Like, who is this chick? Okay, well, let's share.

Let's just talk.

So my guest today is Hannah Lux Davis. She is an award winning American filmmaker best known for her acute attention to detail, striking imagery and iconic vision. The industry's top artists consistently trust Davis to helm boundary pushing music videos that garner billions of views around the globe. With experience in design, directing and editing, she uniquely curates every detail on her projects from start to finish, ultimately establishing her as one of today's most in demand creators. So Davis hit her stride in 2013, leading the charge on a gritty, provocative music video for Lil Wayne featuring Drake and Future. She was the first Ever female director to spearhead a Lil Wayne shoot, she has since honed working relationships with the likes of Ariana Grande, who she works.

With all of the time.

Demi Lovato Halsey. Just recently worked on the latest Halsey video and created that Miley Cyrus, just to name a few. You guys, I have two pages of accolades in front of me right now with some of the top names in the industry who go to her and trust her with creative direction on their music videos, videos, and producing them. This woman is brilliant. She is willing to take risks. She is so smart. And you will learn exactly how she's become so successful is not only because of her beautiful creativity, but her mindset, how she treats people, what she believes, how she lives. This could not have been a long enough conversation for me. I wanted about four more days with her. So, you guys, let's get started.

I just want to say I'm so excited to have you on the show. This is so exciting because I got to sit and get to know you at an awesome lunch that Jacqueline Johnson had for Create and Cultivate, or she was doing some different projects. And I was so excited to see you there because it was like a friendly face that I had known from Instagram. I was like, please, Lord, sit by me. Let's talk.

We both went into that kind of like, I wonder if we're going to know anybody here. And then I saw you.

I was like, don't leave my side. Okay, great. It's so funny how, like, you can be out in the world doing, like, all the things, but you get into a space where you don't know people, and it's. It's that. Still that awkward. Oh, my God.

Are people gonna like me?

What do I talk about? How do I be interesting? Who are these people? Please help me.

So if it's like, everybody else's friends, then you're like, yes. Yeah.

So what do you do when you walk into those situations? Like, what's the mental thing that's going on in your head? Like, on the drive down? Are you just like, well, I'm just gonna. What magic unfolds? Are you like, oh, God, what am.

I doing that one in particular? I guess for most events like that, I usually don't go alone. I guess it's like, not, like, the best. You know, I don't know if that's bad or good advice to, like, you know, be independent or whatever. But, like, I usually. I think it's like, only in recent years have I been like, okay, I have confidence. I feel Good about, like, what I bring to the table. I feel like I know, you know, like, I just, I feel like, confident in myself or I, you know, I've established myself in this and this and this and whatever and that. If I. And I open up, like any sort of conversation, I feel like then just start any conversation. And I just feel like I just kind of remain open. Yeah, Really, I want to go into those situations curious and, like, talking to people and like, getting to know who these people are. But really it just depends on. You can get a good feel for a sense of person, like, pretty much right away. And I think that to really, you kind of have to just like, trust your gut and go with, like the first, I think the first couple instincts of just like, interactions with somebody. And you can be like, okay, is this somebody I want to continue talking to at this event or do I want to, like, kind of move on and, like, see who there is? And I think that, you know, you can tell right away also who kind of has, like a cliquey vibe. And I think at those types of events especially, you can tell. And I think that you were somebody who was just so warm and open. I was just so excited to be talking with you and sitting with you at that event. So, yeah, I think it's just about, like, knowing that you're, like, worthy and you bring something to the table and just, you know, having fun for yourself and trying something new for yourself.

Oh, I love that. Because honestly, I was kind of like.

In that same space.

I'm like, you know what?

No matter what.

There'S nothing like, weighing on this particular thing. Like, you know, putting a lot of pressure maybe on something to want to meet someone or connect. Like, I was like, I'm just gonna go and see what magic unfolds. And there you go. Now we have a podcast. You were the magic that unfolded for me.

There was the girl who was, like, doing the crystal reading.

There really, really was magic there. So home with a great crystal and a friend.

So it's awesome.

And some cute clothes too, actually.

That was super fun. I wear sports bra all the time. So do I. That's really fun.

Super comfortable. You got an awesome kick ass sports bra out of it. It sure does. Okay, so I'm just gonna ask you, like, a few rapid fire questions. So you're recently married?

Yes. Like, how long ago we got married? September 4th, 2018. Okay.

How'd you guys meet?

We met working together eight years ago. Oh, wow.

Awesome.

He was producing a video and I was doing I was directing that one. But we met a few years earlier than that. But we really met, you know, eight years ago.

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So was it like right away like, oh, who is this guy? Or were you kind of like, I am working, get away.

It was right away like I got into his car for a director scout and I sat in the back seat. Cause there was somebody in the front seat and I sat in the backseat and I looked over at him and we like exchanged a look. Honestly, I knew like right away. Like I knew right away. But the first instinct was. Or my first thing that came over me was, where has this guy been? Like, we should have been best friends our whole lives. That's what I thought right away was like best friend. And then we got to know each other and I'm like, oh, you're gonna break up with that girlfriend you live with and I'm gonna be your new girlfriend. We're gonna be together forever.

That's so funny. That was kind of like with my husband. I wasn't thinking of him as a husband at all. I was just like, this guy is such. He's like such an amazing friend. I'm pretty sure I friend zoned him, but he was just always there. And I ended up falling in love with him afterwards. So, yeah, it's kind of. Which is so cool, isn't it? To like be married to your best friend? Okay, so why. You guys got married in Paris, right?

Yeah, we got married.

Okay, so why there?

We were. Okay, well, we took like a trip for a work trip and we had a layover in Paris. We were in Morocco doing a project and then we had a layover in Paris. And we ended up just having like the most perfect day walking around Paris. It was in May of 2017, and it was just a beautiful, beautiful, beautiful day. We walked like 14 miles. We went shopping. We ate good food. It was just like the best. And we were walking around and I hadn't been There since I was in like 8th grade. We were walking around and I was like, God, this city is so beautiful and there really is just so much magic in the city. In love and like, it's just like a. Such a stunning place. It literally took my breath away. I think I got like teary eyed and so we weren't even engaged at this point, but I. We'd always been like, you know, talking about like, oh, wedding, marriage, blah, blah. And we ended up getting engaged in Tulum a couple months later and we were starting to plan a wedding in la and we were like looking at venues and, and this style of venues we were looking for were very Parisian and just like, you know, that sort of vibe. And so we were like, we were talking about like the wedding guest list and the costs and everything. And we were like, we should do a destination wedding. We should do a destination wedding. And then so we ended up going to Paris and finding a venue there and deciding that that was the spot.

Well, I have thoroughly enjoyed looking at all of your wedding pictures, especially your dress. So you guys, it's worth just going to her Instagram to go and like just fantasize about. I feel like I'm looking at the Knot or something like a wedding site. And like, this is so much fun.

It was kind of a dream dress. It was a one of a kind Galia Le Havre. And if you've tried on wedding dresses, you know that like, Galile is like top tier. And it's like, I tried.

What happened?

Funny story about the dress is I. It was like in January and I was like, definitely a few pounds heavier because of all the holidays, blah, blah. So I was trying on dresses in January and I ended up buying the second dress I tried on. Yeah. At the first place I went to at Golly Lahav. And I was like, there's nothing better than this. I'm gonna buy this dress. So I ended up buying this dress and then like a month went by and I was kind of freaking out. I was like, did I really just buy the first dress?

Like what?

I literally freaked out. It was kind of like, like, literally. I had like a panic attack about it. I spent so much money on it. I was like, why don't I just do that? I knew I loved it, but I just wasn't like, sure. And so then I ended up going to like 10 different wedding places or wedding dress places. And I tried on probably 10 dresses at each place.

Yeah.

And in that process, I was able to determine like, what it was I liked and didn't like about all sorts of wedding dresses. Like, oh, I need like, white, white, white. Oh, I need like a high cinched waist that's gonna make me look like more cinched in. And I need like, I needed like the big poof and just like all the things. Right. And it took me a long time to like, figure out, you know, what it was that made me feel like a bride, you know what I mean? And I just felt that this first dress I bought was a little princessy, a little too young, but it was like stunning. And I can tell it was quality and it like putting it on, feeling the way it felt on my body, I was like, this is really, really good quality. So I knew I had got a great dress. But then I ended up going back to the Galilhav place and I was like, listen, I just tried on a million dresses. I know I already bought this dress, but can I use this as like, credit for like, something at your place?

Like, we hadn't put in the order.

Yet and it was just kind of like holding this big chunk of money. Yeah. I was able to redesign a wedding dress using, like, pieces and like some sort of, like, structures of a couple dresses in the shop. And I ended up making this, like one of a kind dress that was really based off the very first dress I tried on. But I was able to add like all this different fabric and this 25 foot train and blah, blah, blah.

I love that because it's like, why? Okay, so I love that whole story because so many people would be like, well, I bought the dress. They don't go back and ask. They don't get exactly what they want, and then they live with that regret and it just goes into their other, you know, massive box of regrets in their life.

Wedding regrets are the worst. Yes, exactly.

Well, at least it's not around the guy. So we're really good there.

As long as it's not around the.

Person you're marrying, you're really good.

And it was funny because I ended up. I went big on the dress. Like, money wise, everything big. And it wasn't until I got up at the top of the stairs where I was saying, I do. I looked down and. And we had a very, very small wedding. It was like six people. And I look down and I'm like, I wish there was more people here to look at my dress. I'm like, I wish we got married with more people. So.

Well, I will tell you that I am. I'm getting to enjoy it, like, after the Fact. So there you go. They may not have been present in the moment, but they are. We're all, like, drooling over it. It is literally worth seeing. It's stunning. It's like wedding magazine stunning. So thoroughly enjoyed watching, looking, seeing. So, okay, so what's a ritual that you guys that you think has brought you guys closer together, that you use in order to, like, either connect deeper or get through, you know, fights easier? Like, what is something that you think has made you guys successful in your relationship, especially working together? Yeah, working together.

I mean, we fight a lot, like. But just, like, small fights, big fights. They're kind of small fights. I'm kind of late with everything, and he is on time and early to everything. And so usually our fights are about, like, when we leave the house, and I'm, like, not ready yet. Yeah, like, that's really what they come down to. But we actually don't. I guess we don't fight that much, maybe, because I'm, like, in this, like, chill state right now of, like, in between, like, doing all these crazy jobs and just, like, like, living life and relaxing a bit. I think when the pressure is high and we are both really stressed out, I think I can get just really snappy and I project maybe something that's going on with me on. But he's, like, so psychoanalyzing everything. He, like, took psychology in college, and now he thinks he's, like a full on, like, therapist, like, psychoanalyze everybody. So he's actually pretty sensitive and good with me when I get, like, crazy, so.

Oh, that's so good. That's a good balance.

Yeah, it's a good balance. He's very, like a type, and I'm just not. But he. I don't know. I guess something that we do to, like, kind of, like, chill us both out is we both just, like. I don't know. He doesn't get, like. Because if I was with somebody who was kind of like me, I think the fights would be just, like, there would be no end to them. But he kind of just like, diffuses it right away. Mmm.

But, yeah, you have to be open for that, right? I mean, so when he goes to diffuse it, are you, like, oh, I can see how, you know, I don't want to carry this on or. Because there must be a willingness that.

You'Re like, oh, I. I don't want.

To continue this either.

I guess I don't really hold grudges anymore. I honestly think, like, that I have just mellowed out a lot and if I held grudges, it would just get in the way and it would just slow things down. And I just. I feel like neither of us have time for that. We're both kind of like, yes, we're too.

Oh, my God.

Yes. This is so. This is a conversation I love having. I talk about it all the time because it's kind of like, I think when you really get into your purpose and when you do get really busy, like, you just don't have time for the small, petty stuff anymore, whether it's in your relationship or whether it's in your friendships or whether it's online. I'm like, I just don't even have the energy for that.

Like, I can't even, like, look at it. Like, I don't have time for the energy for something. It's like, even, like, going to an event where you don't know somebody. I don't have the energy to, like, feel too stressed out about it.

Exactly.

Like, enjoy whatever I can. I'm gonna eat the food, drink the drink, whatever, whatever. Do the thing and, like. And be. And just enjoy whatever I can. Because I don't have time to, like, be miserable.

Yeah, no, because you're so. You're so busy in doing what you do that it's like, that's where all of your energy is going. So let's chat about the. That a little bit, because I love getting into the brains of creative people especially. I think I just heard you say that you are not type A, but you have to direct a lot of very large people and potentially egos. Maybe, maybe not. So how do you function? Okay, first of all, why don't we. If you can just break down kind of what you do and how you got into it quick so that everybody can hear.

Yeah, for sure. I'm a director of music videos, commercials, films, documentaries, branded content. And I have been living in Los angeles for about 15 years now from Seattle, Bellevue, Washington. And you may have seen some of my work, most likely with Ariana Grande. I directed her Thank U next video, 7 rings break up with a girlfriend on board, Breathe in side to side, bang bang, just to name a couple with her. And then I also did a documentary with Demi Lovato called Simply Complicated. And that was through YouTube. And I did an ESPN series with soccer player Alex Morgan, World cup champion. And I did some work with Kylie Jenner for her skincare line. I am just kind of, you know, I guess a content creator, but very much a director and editor at heart. And I am looking into Directing, features. And I've been reading a ton of scripts and just really trying to get into that next thing and do something narrative. And I have a couple projects that I'm developing, and I am living in Sherman Oaks, California. I have a cat named Kevin and a dog named Kevin.

What's the dog's name?

My dog's name is Rexy.

Kevin and Rexy. Oh, my God. I'm just a little obsessed with the name Kevin, though.

Like. Yeah. And it's for a cat. Heaven girl. Kevin is a girl.

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Yeah.

That is amazing. So what. So within that, before we go back to the other question, what feels fun for you right now and what doesn't feel fun? Like, what feels heavier for you?

What feels fun is learning how to cook.

Oh, awesome.

Yeah.

What are you loving to cook?

I am taking cooking lessons. I have this friend of mine who I met, and I met her through Demi Lovato, actually. She is a private chef and celebrity chef, and she teaches paleo principles. So, like, no sugar, all that sort of thing. No dairy. And just because I feel like that's. I'm not, like, trying to be, like, super one thing or the other, but it is actually really. It makes me feel good eating like that. So I like to do it. That doesn't mean I won't have, like, pizza or whatever or, like, actual real sugar every now and then. But I, you know, if I can choose to eat healthier. I might as well learn those principles while cooking.

Especially if you can make it good.

Yeah. Oh, my God, everything is so good. And it's so, like. It feels like I'm like, learning how to make comfort food, which I love.

Oh, heck, yes.

So I'm not like, trying to. I'm not like. I'm not, like, totally crazy where I'm just eating, like, protein and kale and spinach and just that, you know, I'm very much loving cooking and eating and, you know, enjoying that whole process of, like, having snacks in the house. It's like, you know what I mean? Like, that's comforting. Yes, I'm loving that. Like, that's something that makes me really happy right now is learning how to cook. We're hosting Christmas this year for the first time to be able to, like, be a good host and like, that sort of thing. But what's feeling heavy? Well, you know that phase when you. You've done all these things and you feel really confident in one area and then, you know, you have to transition into something else. Yes, that is feeling heavy. Like, for me, yes, I very am established in music videos. I have, you know, a lot under my belt. I've directed hundreds of music videos at this point. And. But this transition into narrative and like, feature length, that's something that's kind of feeling heavy. Like, ooh, I really need to get started. Like, I really need to take this seriously and, like, I really gotta, like, study up and do the work. And what I mean by do the work is reading scripts is work, you know what I mean? And seeing if you can understand story, seeing if you can visualize it and just really brushing up on, just like directing actors and just kind of getting myself ready for when those opportunities come up. So doesn't necessarily feel heavy. It just feels like I see what's next. And I know that music videos is like a whole different world starting a new different world. And, like, it's a new group of people, it's a new language. So, yeah, it's a different. It's a transition.

Oh, I love this. So what are some of the thoughts? So I know you said it doesn't necessarily feel heavy, but maybe it feels like a little. Maybe a little intimidating or just unsure.

Right.

Like territory you're just. Just not sure of. Like, will I. What's the narrative like that you're hearing a little bit of? Is it like, will I be as good at this or am I as creative in this arena or. But, you know, one thing I want to say is, I'm sure all those things came up in the beginning of music videos as well, and you dealt with them, too. So what's that narrative? And how are you. How are you creating some, like, empowering thoughts around it?

Well, I am definitely educating myself and I think knowing that I am ready to do it and just being confident and, you know, and taking all these past experiences I've had. And you brought something up earlier about how, like, I have to deal with lots of egos and personalities, and that's definitely something I've had to work with my career, because it's not just necessarily these artists who have, like, a lot going on, and they can be like, you know, they're not necessarily. I wouldn't call them egos, but it's like, there's a lot that goes with just that one person. It's not just the artists you're getting. It's their manager, it's their stylist, their makeup artists. It's all these people who come into a project and they kind of, like, want to be heard. And how do I navigate that and make sure it's like, I'm being able to articulate my vision in a way that feels like it's collaborative, because at the end of the day, I'm making music videos for these artists.

Yes.

Oh, it's me. It's like, no, it's these artists, and I'm an extension of them. So how do you sort of balance that? And I think over the years, working with the types of people I have and the collaborations I've had with, you know, artists on, like, each other's tracks, like Bang, for example. This recent Charlie's Angels music video I just did with, you know, Ariana Grande, Lana Del Rey, and Miley Cyrus, like, that's obviously a big, you know, complicated and tricky sort of puzzle to put together with all those people and making sure all those teams are happy, so. And making sure that, you know, all parties involved are happy. And I think on that project was something. We shot that in July, and that was a project I did where I really felt like, okay, everything I've done leading up to this project has prepared me for this video.

Wow.

And not just for, like, the directing part, because, yes, directing is part of the gig, and that is the gig, but all those other behind the scenes, like, how you navig, you know, the politics of everything. And so I felt very prepared in that sense for that project. And while I was on set, I was, like, really zen and, like, calm and like, we're. You know, I think maybe a couple years ago it would have been a different experience on that project. I probably would have been. I don't know if I. Maybe I would have been able to handle it, but I just felt like it was. I was very ready for that project. So what I'm trying to say here is that I'm able to kind of call back to those experiences and be like, you know what I've put in the work. I know how to handle these types of situations. And it really is. It's hard to describe these types of situations unless you've really been on set. Right. These things. But just know that there's a lot of politics making sure everybody's happy and feeling seen, feeling heard, that sort of thing.

So can you. Can you give a little bit of context around it? Like, obviously, you don't have to say anyone, but is there things that are like, what is it that you are responding to instead of potentially reacting? So is it people come at you and maybe you could take something personal that you would have taken in the past, or you would have been upset or backlash? What are some of the things that you found, the traits that you embodied that really, really help you in those moments of high stress, of feeling like people aren't happy? Because, honestly, I feel like what you just explained is, like, business and working with a team at all.

So.

Especially when it's creative like that.

Right.

Like, everybody wants time.

Yeah. And on set, you have, like, a ticking clock of, like, yes, so many hours, the sun's going down. You know, everything is against you, really. You always need more time than you have. But that's a great question. I feel like you really get good at listening and you really. Like, what? And just sort of like, making sure people feel heard and seen. And I think that just comes with, like, having a thick skin and being able to feel confident in expressing my own opinion on something, but then making sure they feel like they're being heard and that I'm allowing them to be themselves.

So do you actually say out loud, like, I totally value your input, but here's why? Based off something.

Yeah, yeah. It's a lot of, like, how do you word something in a way to where they feel heard and seen, but also explain, like, maybe why something can't happen and here's what we can do instead, and just kind of making sure everything is positive. The last thing somebody wants to work with is somebody who's like, oh, no, we can't do that. You know, like, you always have to be willing to, like, sort of, like, problem solve. And I think that. And, like, also problem solving isn't just coming from me. It's like, I have to have a really great team around me. I think now, with experience, I'm able to, like, find and, like, have a better understanding of what it is that I need to do my job the best I can. And that's also. That comes down to who am I going to surround myself first? Ad what type of energy do they need to have in order to make the client feel good and to make me feel good? And there are certain people that I call on for certain things, and I think that just comes from experience with being in a situation with that person or just knowing how busy am I to where I need somebody that I can look to and be like, I need you to cover for me for a second. I have to do some VFX notes in the trailer, so just cover for me. I'll be right back. He's got his eyes on the set while something's being set up, and I'm able to do my thing. So it's kind of like a balancing game. Just all sorts of things. Things.

How do you not get stuck in things that potentially feel like they're going wrong and, like, starting to spiral into the negative? And, like, when you go home at night, let's say you have another day or two left and you have to, like, reset. Like, you just have to let go. I think of this all the time, like, watching football. I'm like, you can't be a good football player if you let the last, like, you know, the last play get in your head. You have to just, like, move on like it never happened. So how do you move on and keep it really positive? Because you kind of are the heartbeat.

Of what's going on.

And I'm guessing that's why you keep getting asked back to do these massive projects is because it probably feels good. So what do you do to, like, let go, move on, reset, stay positive?

Yeah, that's a great question. It's so funny that he brought up football and, like, bringing up the last play. I play on a softball team. Oh, awesome. Like a coed softball team. It's slow pitch, so it's very foreign to me because I grew up playing fast pitch, and I used to play catcher, and, like, in slow pitch, that position doesn't exist anymore. But yesterday we had a game, and I kept. I kept striking out because the pitch was so high, and I hadn't struck out since, like, the very first game a couple years ago. And I was just like. And I was like, that's it. If I strike out one more time.

I'm walking off the field.

I didn't come here to be bad at something. It's like co ed fun softball. And I'm like, right, and you're pissed. I was pissed. I'm like, I just want to have fun right now. So for that, I did not handle myself well. But with work, I think it, like, I think every. And I say this all the time, like with my husband and like people I work with. I'm like, man, every job I do, I learn some crazy lesson. Like, some huge lesson. Like, and it's usually about communication. Communicate this correctly or I didn't communicate this clearly, or I really should have taken more time to communicate this thing. And like, here's the perfect example. I was doing the Ariana Grande thank you Next fragrance commercial, which is out. And I. Colleen is Colleen Ballinger. She was the girl who. She's like a big YouTube girl. She's like, you know, really awesome and a great actress. And she's Miranda Sings, if you know who that is. She. She was in the music video and she was pregnant, like for real with her baby. And she was in the video and she was like such a funny character. And so we brought her back for the Thank u next fragrance commercial as kind of like a through line with like some comedy. And instead of her being pregnant, we had like a fake baby. Cause she obviously already had her baby. And we had a fake baby for her to wear in like the Baby Bjorn situation. And we had a fake baby. And I didn't think about what was the baby gonna wear. Like, for whatever reason, I'm like, it's gonna be covered in the baby. BJ And I just had the stylist grab some baby clothes, but I didn't check up on what's the baby's head look like? Is it gonna look fake? Do we need to make sure we have a hat? Like, you know, like one of those, like a little hat. And we didn't have a hat, so we had to put like a regular beanie on top of the baby's head. And it just didn't look right. And I'm like kicking myself. Cause I'm like, how did I not? And I'm like a very over prepared. I prep really hard. Meaning I like put style guides together, mood boards. I pride myself on being really prepared for shooting. And this was one of those things where I really dropped the ball And I didn't make sure I didn't see the baby and yarn and the outfit and to check, you know, to make sure I was covered. So it's like, small as that detail is. It really is. It's really. It's the details that make up. And I think that just, like, communication is really those big learning lessons, and I'll never make that mistake again. You know what I mean? And next time I have a fake baby, you never know.

Yeah.

And there's situations, and I think at the beginning of my career, they were obviously much bigger things that would happen, like how I would communicate with a stylist, you know, and how I sort of wouldn't stand my ground, you know, to make sure I was at the fitting or, you know, make sure the fitting happened prior to the shoot. And there's some situations where you have no control. Like, for example, Ariana Grande is, like, the busiest woman on the planet. So if she needs to do her fitting the day of the shoot before she's in the outfit, then we all know, like, that's what it's gonna be. And there are definitely a lot of artists that are the. And, you know, talent is the exception to some of these rules I have in place, you know, knowing myself now. But it's just really about, like, knowing what I need to do my job. And I think it's really every single video or project, there's, like, some lesson that I'm like, oh, okay, I need to, like, check this or make sure. Really communicate what I needed here. And yeah, just as, like, an example. So, yeah.

Do you not care if you show up as, like, over communicating? Is that something that you. Because even with communication. Communication with my team, I'm like, sometimes I'm like, okay, I'm just double checking because I am totally learning always how to communicate. Do you err on the side of over communication and just not worrying what people think if you're, like, helicoptering them? Like, even if it's a loving place.

That's a really great question, because you kind of just have to. At the end of the day, I have to cover myself. And it's. And they know that. You know what I mean? I think they'd rather have a director or, like, like a boss or somebody, you know, sort of guiding the ship who is, like, looking out for the big picture. Right. Because there's so many parts of the puzzle and, like, pieces and, like, players on this big team that is a film set. And everybody is sort of relying on the director to make to Oversee it all. Because the only person, maybe the producer and maybe the first AD are the ones that are overseeing it all. So I think, you know, I'm. I mean, thank God for texting and, like, group texting. You know, whenever we do a project, there's, like, an art group text, there's a styling glam group text, there's a production group text. And it's really efficient just to make sure we're all on the same page and dropping in references or whatever it may be. And, yeah, you really can't. You really can't, like, get in your own way and think that, oh, am I being annoying or being too pushy? Because I just. There's no time for that again.

Yeah, you. It has to be right.

Has to be. Has to be good work, and I just wouldn't worry about that.

Okay, so that's such a great question, because I think that's one of the biggest things I hear, especially from women, is, like, they worry about after they've kind of, like, flexed their, you know, either position, if they are in a position where they do have to direct or lead or have, you know, power of the company or whatever it is. And it's like the questioning, the constant questioning of it's getting in your head. So how do you stay focused on something when there is a lot of pressure?

When, you know, you are putting out.

Videos that, you know, it's not just like, well, you know, maybe my grandma's gonna watch it. It's like, everybody's watching. So how do you. Right. So how do you get around any pressure that you put on yourself to just stay in a place that is gonna create something awesome and fun and.

Keep people in a good place? Yeah. I think, you know, I take my job very seriously, and I understand that what I do, like I said earlier, is very much an extension of these massive artists. And I take, you know, these moments and these budgets and, you know, very seriously. And something that Ariana would always say, like, if I was ever, you know, not really pushing back. So I would never really push back, per se. But if we're, like, talking about some shot and she's unsure if she likes it, she'll look to me and be like, it's my face on there. You know what I mean? Like, I just can't. Like, if I don't feel good about it, I'm not gonna do it with the way she looks in a shot or whatever it may be. But I think there's a way you can communicate that is productive and is Positive. And I think that I like to work with people who I respect. And so I think right away, just sort of laying it out, that you want to empower the people you're working with. Because the last thing I want to do is work with somebody who's a yes person who's not going to bring anything to the table. Yeah. So I think right away, if you're in a situation like that, it's like, I like to open it up with, like, I want to be really collaborative, and I want to empower you to make decisions. Obviously, I want to see everything. I want to, like, approve it, but I empower you to bring, you know, bring your all to the table and bring me something that I maybe would not have thought of. And I like to just be very collaborative, like, in all aspects. Because, you know, obviously on set, you know, there are times when I just have to put my foot down and be like, this is what we're doing. This is what we're gonna do. Everybody needs to be quiet. Cause we'll be in crunch time. And, like, people know when that is. And if you've been on a set, it's like a very. You know, there's a crunch time a lot. And I think that, you know, there'll be times when I'm on set and I'll yell, I don't care who you are on this set. Be quiet. Like, you know, there's times when you have to do that, too. And I think that you just have to know when those moments are, and you just have to be like, I'm not like a dictator director. I like to be. You know, I like everybody to have a good time and feel like they're a part of something special. And so I think if you lay that. If you lay that groundwork of the type of director you are, the type of boss you are, and then you won't be running into issues of people, you know, just sort of kind of not listening. You know what I mean? Okay.

I'm loving this. So there's so many points that you just said that I can see to even be more clear on in my life. So right away, even starting off with, like, probably when you connect with your team in the beginning, like, here's. Here's what I'm really looking for. Here's what I love. Here's how we can set these ground rules. Like, here's, you know, when it's crunch time, here's what it's gonna feel like and look like. And, no, I love you. And we're gonna keep this positive, but we're also getting this done. Like, this is serious business.

While it's.

Yeah, that's so just even stating it, I think that we forget to state it, and we just make all of these assumptions, you know, that people will just understand or whatever that is.

Yeah. And going into it, in my job, we have, like, a tech scout. And a tech scout is really where you go and look at the location. All the heads of the department are there. So we'll go and we'll be like, okay, this is where we're gonna shoot this scene. This is what's gonna happen. This is who's in it. This is what I want it to look and feel like. This is what I want the lighting to be like. And, you know, usually we go and there's, like, a treatment. There's like a whole plan of, like, what it is we're shooting. And everybody's read that and understands that before we get there. And then from there, I learned, like, I say what I want right away, and I'm like, this is what I'm looking for. This is what I want to do. This is the goal here. And then I kind of open it up. I'm like, all right, so what can we do? How can we make this great? Let's work together here. Because you really are. You want to lean into the people that you hire to, like, do their. Do their best work. I would just be getting in my own way if I didn't allow that.

Yeah, I love that. So how do you know when you're working with different team members who you empower to bring you great ideas, but maybe have they gone. Gone through phases where they're not bringing you great ideas and you just kind of, you know, when do you know you're working with the right people? And when you're like, okay, this is just not.

It's just not a fit for me. Yeah, that's a great question. Because a lot of what we do in this industry specifically is we work with a lot of different types of people in all different positions. And I think something that I, you know, I want to make sure I'm working with somebody who's positive and also is, like, gonna really bring their all to whatever that project is. Like, if, for example, I was shooting something in New York a couple years ago, and the dp, it was this girl dp, this female dp, which is, like, it is very rare to find a female DP cinematographer, and her name is KR Ismendi, and she was A DP that I'd been wanting to work with for so long. And she's really hard to book because she's always booked up and, and she just really put like everything into this project in a way that, I mean, most people do, but this one in particular, it was in New York. And so it was a very ambitious one day shoot and we just had like a full, like couple days of meeting, like very intense meetings going and you know, going through all the different, you know, setups and lighting ideas and coverage and this and that. And she was just so committed to make it amazing. And you can just feel when somebody just gives their all and is like, like bringing references to the table and just like really with you. You know what I mean? And what I mean by that is just, you just feel like they have your back and they want to know as much as they can about what you're thinking. Again, be an extension of you. And what I mean by that is like, be an extension of me, the director. And so, yeah, I think if somebody is kind of being lazy or they treat their crew in a way that it's just like not the best vibe on set. Like, that's something that's a huge thing for what I do. For example, there's a DP who probably is not gonna be listening to this podcast. So I can say it. He was not, he did not have a good attitude in front of the artist and it was really bringing that artist down. And she was not happy with his attitude. Talking the way he talked to the.

Other crew members, the way he directed.

Some of the background talent, like if they were in his way, which he has no business really talking to them. And he was just kind of just had a shit attitude. And so I can't work with that person again because I can't look to my cinematographer who is literally like the extension of me. It's like me, the cinematographer and the first ad, the first ad, for those who don't know, is somebody who runs the set and makes the schedule. And so they're the ones kind of like planning the day. So it's me, the director, cinematographer, who's like, you know, operating the camera or you know, lighting and just sort of doing all that technical side. And then the first ad, and if I look to my cinematographer and he's just got a defeated look on his face or just like, he's just not with me and like, is not like up on his feet, her feet, like ready to go. Like, I just can't work with that person. Because I am already dealing with a lot. Like, I have the artist that I have to, like, take care of, and the last thing I need is to take care of a crew member. So how do you.

So when you're, like, vetting for next time? Because I'm sure you work with new people all the time, potentially as well in that. So do you ever. When you're connecting with people or when you're setting up what you want to do, do you ever lead with, like, connection emails on that or like, when you meet in person, like, hey, this is really important to me. Or, you know, do you communicate what the overall, like, feeling and vibe and how you, like, really lead with a positive? Because you are, like, everything that you've said, positive. Like, being positive and working really hard is, like, your top thing that's important to you to surround that artist with and surround yourself with. So how do you get that across to someone else who's also maybe your equal or even maybe above you at times? Like, this is really important to me.

That's a really, really great question. It's something that I'm actually still navigating the best approach for, because it is hard to know what that person's gonna do until you're in those situations.

That's true.

You're not really gonna know if that DP has a lot of stamina until, like, you know, after lunch. Are they gonna have the same attitude they did? Yeah. You know, and I think that's sort of just a risk we have to, like, that we're sort of forced into taking sometimes. But I think now I go in with the. Because I have worked with the artists that I've worked with, I'm able to go in and be like, hey, so just let you know. In the past, I've had a bad experience in this department. Not like the cinematographer department, but in the department of what I'm about to describe, which is, you know, I work with these artists who really soak in all the energy that's around that camera. And if I work with somebody who doesn't bring a good energy to that scene into that set, like, that's not gonna work for me, and that's not gonna work for us working together. So I kind of lay it out like that, but really, it's like there was a job I did recently, and I won't say what it was or whatever, but, like, I thought I was going into something with a really nice person who was gonna be, like, gung ho and super amped. And then on set they were just very, very mellow and didn't have much of an energy at all. Not a bad energy, not a good energy. Just like I wasn't getting anything. It's unfortunate. And as great as the work was, I don't know if I'd hire them again because I want to find somebody that I can vibe off of and get excited with. When they're excited, I want, they're excited about what we're shooting. And I think unfortunately it's. And specifically for what I do, which is all these short term, like quick projects. Yeah, I don't know if I'm shooting next week sometimes. You know what I mean? And so we really gotta like go through a list who's available, who has a reel that's gonna make sure this looks great. And that's kinda like the first thing we look for obviously. And then it's like, okay, who's available? Can they work with our rate? Can they work with this budget?

There's a whole like back and forth.

With the agents and then you kind of have that first phone call maybe and then you meet them at the tech scout sometimes and you don't really know until you get on set what the vibe is going to be. But I can tell you that if I was doing a, you know, a feature length or something of, you know, a multiple day shoot, I think, you know, I would definitely, for a feature I would have meetings with them prior to hiring them. I would hopefully have shot something short form with them before. But it's, it really is a gamble. I think you can also like maybe get on the phone with somebody they worked with before, whether like a producer or another director. See what the vibe is. But it really is just like, you know, hoping, yeah, they'll be cool.

And you know, I love that you point that out because it just reminds me and everybody who works with other teams like, because a lot of stuff that I do is super collaborative as well. In the past especially, and it always comes down, there's always going to be a moment where people. It's going to come down to a deal breaker of how you show up and how your energy is. Because you being the best X, Y and Z actually isn't going to be the thing that's going to end up booking you if there's another.

Because there's a million people who are good at this. Exactly. There's a million DPs who are great and I think there's a million art department, there's a million stylists and it's in. And it's gonna be, how do you show up? Exactly? How do you show up? Are you a nice person? Are you. Do you respect me? A lot of times I'll work with somebody who I. I don't think this person respects me. And, you know, I kind of just have to, like, suffer through the job with that person. And then, you know, it's. And at the end of the day, like, people don't. They'll remember you for your purse, like, what you bring to the table and what your energy's like. And if you're a nice person because there is so much good work that you kind of like. Like, there'll be projects I've done. I'm like, oh, yeah, who shot that? And like, I don't really remember because they maybe didn't leave an impact, but yeah.

What do you wish more people would ask you? Maybe more people who want to either emulate a career like you or live a life like you. Like, what is something you wish more people would ask you?

Well, directing is actually a very lonely position because it's not something you can necessarily be on set for and witness other people do. Because I know this because I used to do makeup on set. I went to school for directing and editing, and I realized that being a PA on set was not going to be a great path to really get in there because I didn't like being a PA production assistant, because I really didn't know what my job was going to be. Your job was not necessarily going to be on the set, in the action. Maybe you were doing runs all day. You know what I mean, what the job's going to be. And so I was like, all right, I'm not gonna really learn and just kind of like, soak up what it's like to be on a set being a pa And I knew that. And it was. I don't know, as much as, like, we want to be like, oh, yeah, girl power. Like, no, being a girl PA kind of sucks. It's like you have to deal with all these, like, crewmen and they're like grips and electricians, and they're like bigger older men. And I don't know, I just. You kind of just have to play like, oh, hi. And they always smile and I don't know, I just knew that wasn't like a pathway I was gonna get. Get taken seriously. So I ended up going to makeup school and I went to the cinema makeup school, which was in like, Koreatown, Louisiana. And it was like a six month long program. To do special effects, makeup, beauty makeup, character makeup, like cuts and bruises and all that sort of thing. And I was able to get, you know, confident in doing makeup. And then I ended up working as a makeup artist on set. So it was. It was really that route that allowed me to be on set in the action, you know, talking to the director, seeing the talent, meeting people, and just really kind of immersing myself in that film experience. And I think what a lot of people don't know is that to see what a director does is really. It's hard to, like, have an idea of what other directors do. Like, I'm telling you what I do, like where my systems are roughly in a short amount of time. But, you know, I don't know what other directors are doing. And I think people often, like, assume that we all maybe do the same thing. Sometimes we do. But it's really hard to, like, learn.

How to be a director.

Yeah.

Unless you're, like, shadowing or asking or.

Have a mentor or something. Exactly. And that's a really hard position to have to find somebody who's going to shadow. You're allowed to shadow or have mentors like that. It's a really tough thing to have somebody do that. You know what I mean? As simple as the concept is, oh, find somebody and shadow them. It's trickier than that. It's like. It's a lot of like. Like, I, you know, I. I've had assistants in the past who've wanted to be directors, and they've gotten a great education being my assistant. Yeah. I mean. And I think. And that's a way to go. But, yeah, I don't know. A director is a very lonely position because you're often wondering, what is that director doing? You know, how do they run a casting session or how are they communicating that? And I think it's like finding, like, systems that work for you and then applying them. And then really it comes down to just, like, experience, like, under your belt that you can just draw from.

So being a director sounds like you have to, because there is not a lot of that. Because I can see why it's like, you're directing. You don't necessarily. It's a tough position to stop and be like, here's why I did this, or, here was my thought process behind it, or, here's why I made this call. They're probably not going to take a of lot, lot of time to mentor in doing something like that. Sounds like a position of such, like, so I'm loving what you're talking about because you have a level. I don't even know if you're aware, but I'm guessing you're super aware because you are so self aware of your level of self trust and the ability to just let go and make peace with every decision you made and learn from it.

It's a lot.

So freaking powerful.

Directing is like basically decision after decision after decision. Like, and it's how those decisions come together that make the final thing. It's like, simple as that sounds. You know what I mean? Really? I'm not the one physically lighting it. I'm not the one physically building that wall. I'm not the one physically dressing the talent. You know what I mean? It's decisions I'm making that are, you know, that I'm communicating to others. And those decisions coming together makes the outcome. And it's really. Yes. It's trusting your gut and trusting your eye and all of that just takes practice.

Yeah.

So that. That makes me ask just about, you know, the first time that you had a big project, what was it where it was like, all you. And first of all, how did you even. It's kind of a. It's kind of a thing to be a female director. Like, that is a big deal. What is it like to be a female director in a sea of. Not like, how many other female directors are there that you know of who are kind of playing at your game level?

I mean, it's funny because I think that now more than ever there are more female directors. So many. And it's because, you know, the generations before us, like there in music video specifically, there was like five other female directors that were like, generations above me. Okay. And I think that, you know, I saw them and I, you know, I always say I can always remember the female directors before I remember the male directors because they're the ones that, like, stand out to me. Obviously, I'm like, oh, wow, cool. But I mean, I really do feel like now more than ever there are more female directors there. There are more females interested in filmmaking because they're seeing other females and they're like, oh, okay. It's a whole idea of, like, if she can see it, she can be it. And I really do feel that, like, you know, with this whole Me Too era, I feel like there is, you know, a need and want for that female perspective. And brands and artists and studios, they're all recognizing that female perspective is. It's not just like, crucial to, like, you know, filmmaking and like, you know, culture, but people are really Demanding that. Yeah, I think that's also calling for more female directors and female filmmakers. And something I say, and I've said this in the past, just like, yeah, I get it. It's a hard job. It's a really hard job.

You know what I mean?

I don't know. It's a lot of pressure. It's a lot on your body. And as females, we don't just get to roll out of bed, put on an outfit, and go and be all about the work. We have so much other stuff that we should prioritize. I mean, not should, but, like, I choose to prioritize how I put myself out there in the world working out, like eating healthy, hair, makeup, cool clothes, you know, whatever that may be. It just. It takes a lot to do all of that and do all this work. And, you know, I sound like an idiot, I think, by saying that. But, like, I don't know, I feel like it's so much easier, I think, for guys to be fully just, like, about the job. You know what I mean? Again, and I think this industry is. You have to be so all in like that because there's just so many hungry people in this industry and things move so quickly, and you have to just always be at the top of your game. And I think that it's hard to do it all. And I think, you know, I don't know. I'm just not one of those people that can just, like, roll out of bed or roll the set, like, not having worked out or this or that. Like, I have to do all those other things to feel my best so I can come to the table and, like, do my job.

But it's possible. So something that you were talking about earlier was obviously some of the burnout that's happened because you did just have such an incredible level of things on your plate and awesome projects that I'm sure you're so excited about. But at the same time, there can be something as too much. And so tell me about just when that moment hit when you were like, wow, even though this is all great, there is such a thing as too much. And then also, I just want to hear about how you are able to.

Because a lot of.

I'm sure a lot of it's really easy to get caught up in the identity of being on top, like, being wanted, making sure that you're at all the things and you're not missing out. So how do you balance that? Because that is really huge. Especially once you get on top. There's a lot of Pressure to stay on top.

Yeah, there really is a lot of pressure to stay on top. And I think there's a. Especially in the music video industry. Because in the music video industry, it's like you have to be doing, like, the cool projects, the cool artists, and, like, it's. I don't know, it's hard to maintain a level of quality. And I think I really. That comes down to just having a really great team. Again, it's not just me. It's like I have a really. I'm with a really great production company called London Alley. And not just a production company, but we also run post. Everything is, like, in house. Like, we, you know, they just, you know, they handle all the post side. I edit most of the videos, and then we take it to a color place where they color correct it and do all those polishings, and then we'll do beauty and effects somewhere else. But, like, that process of, like, you know, who handles it to send it to that person who handles it to send it to that person who's communicating label for final delivery. All of that is being handled at our production company. And I wouldn't be able to do the volume of stuff that I do if it wasn't for, you know, that well oiled machine of the company backing me. And I think that comes, you know, and same with, like, the types of projects I take. I have a really good rep, and he's really good at, like, sort of being, like my coach as I, like, get into some situations that may be tricky. I balance, like, okay, I'm not available for that job, but I don't want to, like, brush that person off. Like, how do we, like, balance how we communicate to people? So I can still, like, do great work. How do you choose between projects, like, that sort of thing? So, yeah, that again, I think it comes down to just, like, having, like, a focus sort of. All right, is this a money job? Is this a cool artist that I want to work with? Is it a cool idea that it's like flexing a different muscle for me and showing off side of me? I didn't mean to lead with the money job part, but it is all factor.

These are all decisions.

Yeah, it's a business that, you know, at the end of the day or. And, like, can we pull off something for this artist that we haven't seen before? Is the budget gonna, like, you know, fulfill that need? Like, am I gonna be able to make this artist look their best with this amount of money? If it's not the right money Then, like, it's not the project that I should be doing. Not in my pocket, but just, like, what's on screen and like, the tools and things you need to make that person look better than they did in their last project and that sort of thing are all things that I put that I factor into how I take work. I don't remember what your first part of your question was, though.

I'm so in it with you. But that made me think about, like, where the importance of, you know, we talked about resting and how, you know. But it sounds like you kind of know when you're not going to be your best and where you have to communicate. Even though I want to do this, it's not going to probably be my best work. Not saying that necessarily, but you knowing that.

Yeah. And I think that comes down to. I think if it's tricky in terms of timing, if there's a budget that can support it, usually it works out. Out okay if you can hire the right people to, like, help you do the job. And like, yes, there's a. For example, like, there's that whole, like, trifecta. It can't be fast, you know, cheap and look good, you know, that whole thing. Yeah. You know, it could be like two of the three things. Yep. So, okay, let's say we have a shoot next week, but, you know, it seems really impossible and we're just now getting the job awarded and we need to shoot next week. And if there's not enough money to pull that off that quickly, we shouldn't do it. But. Oh, it's actually a healthy budget. We can do it. That kind of goes into it for sure.

So how do you tap into your creativity? Like, you have so many different ideas and concepts. Do you go away for it? Are you on a walk? Do you, like. Because you're a storyteller.

Yeah.

No.

How do you get that and how are you, like. Yes, I can see this happening. Does it come in visions? Does it come in.

Do you.

Where's most of your creativity coming from? Or is it all over the place?

It really is kind of all over the place. And I do believe that creativity comes with persistence and practice. I don't think that people, like, can just hop right into something. I think there is. I think that I really do believe that creativity is, you know, it comes from really persisting at, you know, whether it be. I've just had a lot of practice thinking of concepts for music videos, and I really. At the end of the day, it does stem from obviously the song like, the song that you're doing, the video for, the artist, what it is they're kind of up to in their. In their world and visually what are they doing right now and that sort of thing. But, you know, what is the song about? What is the message of the song without being too on the nose, you know what I mean? But I think a lot of times, you know, I love to look at visual references and just sort of, like, get inspired by, like, you know, I have, like, you know, Pinterest boards and whatnot. And I'm like, oh, that's a cool, like, location. Or, like, that's a cool. That's a cool hotel room. I really like that wallpaper. And that kind of may inspire something that I saw in a movie. And I'm like, oh, yeah, that one scene that could be cool, like. And so I think it really just depends on so many factors, but there really is no, like, one concrete thing. It used to be, like, I would need, like, week. Like, a week at least to think of an idea for something. Okay. Like, I'd be like, like, stewing over this one video for, like, a week and be like, oh, my God, what am I gonna do?

What am I gonna do?

And there are still times when that happens, but I think now I'm, like, able to, like, think about ideas and. And, like, okay, what would make sense in a music video? How much time do we have to tell that story? Like, three and a half minutes. Okay, then. How many scenes is that usually? How many setups is that usually? And you can be quicker at that, obviously, now. But I love to be collaborative with the artist. That's something I said earlier. I just like to work in that way because I think true magic happens in a music video when it's really authentic to that person. Yes, authentic to the artist. As simple as that concept sounds, if it really resonates with that artist, it's gonna be successful. Yep. I think at the end of the day, more importantly, the song has to be good, and you have to like the song in order to, like, make something good out of it. But does it feel right for the artist? And that's something that Ariana is so good at. She has a really strong brand and she understands her audience and her voice and. Well, she knows her voice, like, visually speaking. Obviously, her singing voice is insane. But, yeah, she's an artist who just knows herself so well. So we're able to get really specific with the types of videos we do with her because her brand is so strong. So we're able to make something that's much richer than, let's say, an artist who's, like, doesn't really know what their look is yet. Or maybe they're not sure their tone. You know what I mean? Like, are they more comedy? Are they more sexy serious? Are they trying to be, like, you know, you don't really know which direction they are, like, what to them yet. And I find this in a lot of, like, younger artists. Yes. So I think it's all about, like, knowing yourself. Yeah. And the more you can, like, establish that brand, like an artist speaking, you know, better and richer, like, the video work will be.

God, that just applies to everything, though. Like, it's taken me so many years to be like, this is what I talk about.

About.

This is what I don't talk about. I've absolutely tried to, like, change myself to show up on, you know, different stages or bigger stages or different people's stages, who I was like, yeah, but I'm putting them on a pedestal. Like, this is this person I look up to, except my message doesn't match at all. And then I go try to change. So that goes into my next question, actually.

And we're nearing the end.

I don't want to keep you all day, but clearly I could. So I'm like, to be continued.

So have you ever.

And I think in the beginning, you do have to do some of this. So I'm curious what you think. Take jobs that totally aren't a fit, and you kind of show up on set and you change who you are, and you're kind of like, oh, God, this just doesn't even feel right. But what does that ultimately. Like, how did you start to recognize what does and doesn't work for you? Like, what feelings show up and what shows up in your body and your mind when you're just not in alignment?

Yeah, that's a great question. There's been some projects where I've taken the job, and I think it's one thing, and then it ends up being something else. And I'm just like. And that comes down to, you know, let's say, okay, there's this one job I'm thinking about in particular. I won't say the name, but I remember, like, I got all these sort of red flags, and I should have, like, stopped it sooner.

Can I ask how those come up? Because that's so important. Like, what? When you're getting red flags, you're like, okay, not sure.

Letting that go.

What are they that's coming up in your mind?

I think a red flag from the beginning, before the job even awarded, was that they wanted to work with this other director, and they had this other idea, this other treatment they wanted to do. Got it. Label didn't think that director could pull off a video of this size yet. But the artist was just so gung ho about this idea that this other director had done or put together in this treatment. And the label was like, we'll just have Hannah do a version of that treatment on it. And I put together a treatment, and it was always kind of veering back to what this other person had done. And I was like, I don't think that's very cool. Like, you know, obviously, like I said, I'm collaborative. I want to make sure they feel heard and seen, and I want to make sure they are getting a video that actually feels like them. So. Yeah. Well, might it really get in the way of that? All I can say is, like, here's what I think. Here's what I think would be cool. You know, we can work in elements of this, but I do think this is going to be a really strong look for you. And, you know, we get to the rehearsals and everything's going okay, and everything's going fine. And then on set, it just. Everything kind of just is not syncing up. They're not trusting me when I think something's great. Yeah. And they are just like. Like, just don't have a really confident attitude on set when it comes time to, like, I guess, really respecting me and trusting me. Maybe there's, like, kind of talking with the stylist away from me, and they're not really telling me how they feel about something, or they're asking other people what they think, but they're, like, not asking me. And that was just weird. I could tell. I'm like, this is not going well because this person is truly not, like, recognizing that I am bringing something to the table or, like, affecting my opinion. And why am I even here at this point? You know what I mean? Yes. And I could tell within the first scene it was gonna. That it was like that. And then the rest of the day kind of just kept on going, and I just really had just to stay positive. And, you know, I wasn't. You know, obviously I was directing the project, so I couldn't just like, all right, I guess I'm gonna sit down and, like, not do anything. I had to still finish the. Keep going. Yeah. And it was just a night. But I hate when the feeling that comes up, I think, is why don't you feel like you can talk to me about it? Like, why can't we have this conversation? And I just get really frustrated and really angry. Really? Because at that point, I feel like, you know what? I've done so much to try and convince you that you can come to me and you and I can have a collaborative conversation that could be constructive and. And tell me what you're feeling, and maybe we can work this out. And it always sort of makes me frustrated and, like, kind of hurts my feelings when they feel like they can't do that and they start to talk with people on their team that, like, they're closer to, like, you know, a longtime stylist or a longtime makeup artist. And I'm like, why can't you just, like, tell me what you're feeling?

So how do you. How will you avoid that next time? Or will it just be, like, from the start, you think you'll get a lot of, like, signals?

I think how I would avoid it is I'll lay the groundwork before I accept the job. Like, hey, like, if I. If I'm feeling some of those feelings.

Yes.

You know what I mean? Like, if I'm feeling some of those feelings before the job is awarded, I will express my concerns.

Yeah.

I'll be like, you know, I've been in situations like this before, you know, if you. If I want to know, I'm going into this project with you trusting me, and. Because this is not going to work if you don't trust me. You know what I mean? Why would you want to work with somebody that you don't trust? You know what I mean? Like, to them, like, why would they want to work with me if they don't trust me? So just sort of establishing that, like, listen, I'm on your team. Like, I'm on your team. I'm here to make you look amazing. That's my one goal, is to make you look and feel amazing. And then. And I think just sort of, like, bringing up concerns. If I'm, like, thinking they don't feel that way with me. Yeah. You know what I mean? And that's a tricky thing to do because sometimes you just kind of have to take the job and, like, go forward with it. Yeah.

And learn from that for sure.

And just have, again, thick skin, you.

Know what I mean?

I think if I was in that situation again and I didn't see the signs until I was on set, all you can do is just be like, all right, this is their video. You know what I mean? At the end of the day and.

Just roll with it.

I don't have to promote it. You know, there's a lot of projects that are not on my website, you know.

Yeah, you're so reminding me. I actually had a tiny experience like this, but also have some friends who have in the book world who have written books of a concept of, like, you know, the publisher that they want this book and they think that this person can write it, except they kind of just already have this attachment to the idea of this book and don't want the input of the person who's actually the soul of the book. So then it creates really tough relationship of, like, we just want you to write it, but we don't want you to put yourself into it. Like, that's actually almost impossible as a creator. So I've definitely seen it where I had an opportunity, and I'm so glad that I skipped over it, because when I sat down, in theory to write an outline for a book that this other person wanted, and I was like, oh, this is like a fast track.

I can do this.

They can. You know, it's somebody. I want to recognize me. So I was going to do it. It out of, you know, looking back, ego of wanting to be seen. I just couldn't get it out of my system because I. It wasn't mine, you know, so it was very challenging to, like, get this concept out that wasn't necessarily mine to begin with. So I think that happens in every different position, everything we do. So. Okay, so I'm gonna. I'm gonna let you, like, go on with your day. Hopefully you have cooking class or something awesome after. But is there anything coming up for you that you just kind of want people to know who are. Most of the people who are listening to this podcast are really going after their dreams, but there's usually a little asterisk or things that they're stuck on, and it's pretty much 99% of the time their mindset or what they're thinking or what they believe in their self or something from the past. Is there anything coming up that you want to tell people who are going for it but have a little hesitation?

Yeah. I think something that is going on with me right now that I think somebody like starting out in any career, just somebody even just in any phase of their career, I think can take away is. I actually got off Instagram about a month ago. I'm like on, like maybe every couple days will check a DM and whatever, but I feel so much better not Being on, I didn't realize that I was on it and like, how I was feeling about it because I was like. Because what I do is I like, I consume things for like my job. Like, what's this artist doing? Where is that artist? Or what is that cinematographer shooting? Oh, cool. What is that director doing? Who did they use for styling? Okay, cool. And I really used it as a tool. But I think over the past like month of really just not being on it, like, I don't scroll. I like kind of muted some people that were just like really aggressively posting every aspect of their life. And all of a sudden I was like, what are they doing? They're not posting their life to, like, they're not posting their work, they're not posting. They're posting a table of presents. And I'm like, what are you trying to make people feel like when you post these like, really frivolous, over the top, gratuitous photos? I don't know. And I just kind of like when I did go on every now and then, and I was like feeling these feelings of just like, like anger, like, oh my God, this stylist didn't tag me in this video. Why didn't that stylist tag me? And I would just be like so aggressively angry about it. And I don't know, I just, I got off of it and I'm only on it, like I said a couple times, like every few days maybe just to like check see if I have any like, outstanding like, DMs of somebody that like. Oh, actually I've been wanting to like, talk to that person. Yeah. And I think feel so much better. I just have like, I don't. I feel like I'm not like, I feel like in my, I'm in my own life. Yeah. Other people's lives. Which is like surprisingly such a thing where I like to be able to like ask people what they're up to and not just know that they were just on vacation. You know what I mean? And it is a double edged sword because, like, you want to still feel like you're in the know and you feel like you're kind of like on top of things, like culturally.

Yep.

But I don't know, I think people just need to like chill out on Instagram just a little bit. And I'm not gonna go look, look at somebody, like deliberately go and look at somebody, like, I'll go look up you and be like, oh my gosh, what is she up to? But the scrolling of the stories and up the Feed is just like, I don't know, I just found that I was wasting a lot of time. Yeah.

And I just feel bad. Like, I feel like shit right now.

No, it's just kind of like, I don't know, I'm just like, able to be more in my own life. Y. Totally. Like, oh, you have your own thoughts. In my own head.

Yeah.

I find that it's. I don't miss it. In the beginning, it was a lot like eating healthy. Like, oh, I really want that cookie. Or I really want that chips. Yes. Oh, I don't even crave it. Wow. I don't crave, like, going on my phone. I think what I did was I took it off, like, my front page and then I put it in like, some folder. So if I wanted to, like, go on Instagram, I'd have to, like, type in Instagram.

That is so smart.

Yeah.

You don't have to delete it all the time. You can just put it in a folder. That's brilliant because it'll take out all those little moments where, you know, even for me, sometimes I'll have like a 15 minute break where I really should use that break to just like sit and not do anything instead of consuming, you know, constant consumption.

Because I know it's petty and like, small and like, oh, God, are we really that generation that's just addicted to this? But I don't know, does affect people even if they think they're okay with. With it?

Yeah, totally. No, I noticed it for sure. I love that you're saying that. It's just such a good reminder for me too, because I am now putting specific times, like, putting my phone away from me just to watch, like, keep it away. What is my life like when I'm not feeling urgency of even worrying about. Do I need to answer something? Do I, you know, do I need.

To look at something for being that way? Like, Rob, obviously my phone's in my hand, but if I'm not, like, I don't know. My husband also works with me. So, like, I am lucky I don't have to be so attached because he is. You know what I mean?

Right.

Totally.

Like, somebody needs to get ahold of me. They know just to get ahold of him. But it's just that whole idea of just being able to not rely on seeing what other people are doing for entertaining. Totally. And I didn't realize that it was affecting me. And then now that I'm like, kind of like off of it for a bit, it's been like, about A month of just really not being off it.

Wow.

And I'll post and go, you know, and I think that's obviously. I know it's not the nicest thing to, like, post my own shit and then, like, bounce out of there, but I get the purpose of it for work. You know what I mean? And I get that, like, I need to, like, it's your portfolio and, like, supporting things and people, and I totally get that, and I see the importance there. But I think for sanity, we don't need to be scrolling as often.

Mental health above. Yeah, mental health above all else. So you just. You can't worry about what other people think because they're probably thinking it for five seconds, and then they're thinking about themselves again. So it's just. It's not as. It's not as big of a deal as we all are making it. Especially once you get off, you realize that.

So.

Oh, my God, I loved talking to you.

Sorry we went so long. I was just like, oh, I love it.

Are you kidding? I was like, well, shit, I didn't ask her if she had something after this. So I always end on one last question. And that is, what's my last question here? Okay, here we go. You are in passing with a total stranger. So whether it's, like, on a sidewalk for, like, 30 seconds or in an elevator, like, literally it's just 30 seconds and it's a total stranger, and they look at you and they say, how do I make myself happy? What do you say?

I love this question that you do, as simple as it sounds, do things that make you happy. As simple as that is, what makes you happy? Like, do something that makes you happy. Amen. I know that's really simple, but, like.

Well, it's kind of the key, because I don't think enough of us are asking what makes me happy. And we're definitely not putting in the calendar. We just wake up and we do the same thing that we did the day before. So I absolutely love that because I.

Asked myself that time what it is that makes them happy. Just find more. Like, do more of those things that, like, deep down in your core, make you happy.

Yes.

Amen, sister. All right, you guys, if you love this episode as much as I did, make sure you text it to a friend right now, share it with a friend, and until next time, earn your happy.

Bye, everyone.

Thank you guys so much for spending this time with me on the earn your happy podcast. I am so glad that you stopped by. If you could take one second to share this episode with someone you think would love it. That would be absolutely amazing and we would be forever grateful. Also, please leave us a review if you feel so moved by going to itunes and leaving us an honest thought, an honest comment. Tell us what you think, tell us what you want do to to hear more of it would really help us out on our journey to helping thousands and thousands of people. Until then, don't forget to earn your happy. Thanks again guys.

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