The Method to Movie Magic

The Method to Movie Magic
Films have always had a certain magic to them. This week on Pathfinder we pull back the curtain on what it takes to create something special. Director, Ryan Connolly, of Film Riot joins us to break down his path to the silver screen.

Ryan Connolly from Film Riot joins us on a journey to figure out why persistence in the movie business is more important than tools. We cover what that persistence looks like, why creators should be creating to create, how filmmakers are wired and why sometimes the right way might be the wrong way.

You can find more from Ryan at Film Riot on Youtube and check out his short films at


Ollie: [00:00:00] Something I've been missing recently has been cinema and both cinema. I don't just mean watching a film on your TV or going to a weirdly sticky room to watch a film in the dark. I'm missing the feeling of cinema when the trailers are over. The lights go down, popcorn rustling in hand. There's something about this weekend.

[00:00:22] Strings of the movie studios fanfare that sends shivers down my spine.

[00:00:28] What

[00:00:29] follows that fanfare can be magical from time-traveling to visiting fantastical worlds. Cinema has the ability to transport you and stay with you. The combination of a giant screen, massive sound system and compelling story invoke wonder in a way that very few other mediums can that magic that wonder takes an army to create.

[00:00:52] When you pull back the curtain to uncover what's behind the scenes, it can be overwhelming. Yes. At some point in your life, you've probably wondered if you could be part of that team that brings something magical to life. It takes assessing kind of person to chase the dream of one day, making a movie.

[00:01:07] Before you get to the silver screen, you're going to have to overcome failure, ignore advice. And most of them start much, much smaller.

[00:01:19] This is Pathfinder a show about storytelling.

[00:01:30] What if I told you that every person that I know that works in film knows a killer recipe for slow roasted pork. You're probably wondering why is because buried in the special features of a film called once upon a time in Mexico director, Robert Rodriguez propped up a camera and talked you through making the desk.

[00:01:47] Johnny Def is particularly interested in during the hi I'm

[00:01:51] Robert Rodriguez and welcome to the 10 minute cooking school. What cool BB.

[00:01:55] That's the reason most directors found this is because Rodriguez has a special place in a number of filmmakers, huh? He made that chance to meet movie magic attainable, his book rebel without a crew broke the preconceived notion that a movie had to have a huge budget to be good.

[00:02:10] Based in Texas, not Hollywood Rodriguez went on to be one of the most influential stylistic directors of the last few decades with films like sin city, spy, kids from dusk till Dawn. And he recently teamed up with Hollywood royalty James Cameron to work on Alita battle angel what's special about Rodriguez is that he pushes the medium in a different direction than it conventionally takes.

[00:02:32] Rebel without a crew challenged budgets, studios, visual effects, and the tools filmmakers used. And then it's way it created a whole generation of filmmakers that had the confidence to just pick up the camera and make something without needing the permission from the studio. These filmmakers haven't been writing books, they've been showing you how it's done.

[00:02:50] Ryan Connolly: [00:02:50] I want it to be the director, you know, it was the story I always say is, you know, my dad, I remember when my dad came home with our VHS camera. I don't know if I was Phil was our first one or if it was a fixed one or a new one, I don't know. But the first time I ever, I ever remembered seeing that video, he came home.

[00:03:05] It was like in this briefcase, he busted it out. You know, basically like a BCR you put on your shoulder cause it's a VHS

[00:03:11] Ollie: [00:03:11] camera. One of those filmmakers that took it upon himself to make his own movies was creator of the YouTube series, film riot. One clearly film

[00:03:19] Ryan Connolly: [00:03:19] riot is a how to filmmaking channel.

[00:03:21] It's a DIY channel. It's a channel about you like these games and raffles, and then you would win stuff. And I won this like chest of costumes. So I was doing all these like plays and stuff with my family. It would always frustrate me that they wouldn't laugh or clearly didn't understand the thing I was trying to do.

[00:03:36] It was like, they just weren't seeing it. How seeing it, they don't see why it's funny. And so when he brought home the camera, there was this like Eureka moment when he let me hold it and look through the viewfinder of like, I can force people to see what I see. Like, you know, this lens can be my eyes and I can, I can show my perspective.

[00:03:54] I mean, obviously it wasn't a sophisticated thought at the time, but there was like an instinct to, Oh, this is how I could show, you know, My mom says it was like six years old, but that sounds a little young to me. So I always just say eight then, you know, I didn't really know what a director was.

[00:04:11] Obviously. I didn't know any of that stuff. I just like to make my, you know, I called them skits. You know, we still call them sketches on film riot. Uh, just like these little shorts, basically like a little ghost house stuff, little, you know, Comedic shorts ripping off movies. I like stuff like that. And then I saw Jurassic park and it was such an experience like I had never had before.

[00:04:32] Just this thing of being completely unsafe, experiencing like, you know, exciting danger in an entirely safe place. Um, and, and, and even there was a moment where, you know, this, this guy left and went and to the bathroom or get popcorn or something came back and just, you know, yeah. Back to his girlfriend and she launched out of her seat or popcorn goes everywhere to other rows launch out of their seat.

[00:04:57] Then the whole theater erupts in laughter, there was, I was 11 years old and that was another Eureka moment of someone gave this to us like this gift, this moment, this experience that we're all having, that I'm having, you know, uniquely as my own, but also we're having as a community right now. Right. Was a gift given to us, by someone who is the Spielberg thing and what is a director, you know?

[00:05:19] And, and, and that, because of what that movie was, there was such a spotlight on him when that movie came out, that that sort of. Very much focused me on, on, okay. I want to be the director and I want to be just like Spielberg, you know, and that kind of started off that, that route

[00:05:41] then it was just about making things constantly. Not because, you know, I was trying to specifically learn something or, you know, get to a specific path, but I just couldn't help myself. I had to make something, you know, Make something give an experience that people who watch it makes something else good.

[00:05:55] And then just be frustrated that the experience wasn't landing and then tried to do it better the next time. And, uh, you know, I went to youth group for a small period of time there, and that was really great because they let me do videos for, you know, uh, every Wednesday night. So I could have this.

[00:06:10] Audience of 200, 300 kids and get like that immediate feedback, it was like these constant, you know, test screenings pretty much and see what worked, what didn't try again next week. Um, which, which was kind of like a film right before film. Right? Cause that's very much what film. I, it ended up being like after film school.

[00:06:28] I mean even why it did film right. To begin with was wanting to put that information out and stuff, but. Doing something that would force me to constantly be creating, but that was kind of like the path into, I don't want to get ahead of myself here, but that was kind of the path into, you know, why I wanted to do it.

[00:06:42] It was kind of, I don't remember ever not. Wanting to do it. And it was just, my parents were awesome enough to not instill a thought in me that it was even mildly possible that I wouldn't do it. You know, they were always very supportive. And so it, you know, the idea of this might not work out, never entered my mind.

[00:07:03] So I was naive enough to always, you know, just be like, yeah, I'm going to make movies until the reality of how hard this industry is. Hit

[00:07:12] Ollie: [00:07:12] me. I first came across film riot and Ryan nearly 11 years ago. Now, when I fell down the rabbit hole of wanting to become a filmmaker back then the world of online video was very different.

[00:07:23] YouTube hadn't hit the stride that it had now with big professional productions filmed as part of an internet network called revision three. At the time, it was home to the very popular Diggnation and even Philip de Franco. If you were watching these shows back, then you probably have this noise burned into your brain.

[00:07:44] Ryan Connolly: [00:07:44] Early days. It was, uh, you know, there was, it was fun and stuff, but it was very, very green. Um, and actually at the time when I made film, right. I didn't know. What rev three was. I didn't know anything about Diggnation or, or any of those shows. I knew Philip de Franco. I knew, you know, Philip, I didn't know about the rep three side of things.

[00:08:02] So when they connected with me, it was, um, wait, what are you? What's an MCN. Uh, and then the addicts. Oh, we're the NBC of the internet, basically. I'm like, Oh, okay. Gotcha. Um, so just having that, uh, springboard into an audience was really exciting. So, you know, that definitely made me think even harder. Cause at the time I was making something called making the film, which was similar to film riot, but wasn't quite as.

[00:08:27] Polished or produced or, you know, the effort wasn't quite the same. Um, and so, you know, when I was talking to her at three, about what I wanted to do with film riot, I was like, you know, I imagine family guy, MythBusters and movie magic baby. And, uh, that's kind of what we were aiming toward. And then just weekly pumping it out was just not sleeping.

[00:08:51] It was terrible. Uh, I call it the dark days. I had a full-time job. Running Alienware's video studio, which is the gaming division of Dell. And I was the entire video studio. That's why they hired me because you know, like you see on film, right. I could do everything from writing to even composing the music could be effects.

[00:09:10] I could, I could do the, to all, all of the things. So they were able to just hire one person and save money, basically. Which was great for me, cause it was, it was a really good, uh, learning experience. And I just had all this gear to my, you know, uh, at my fingertips that I could be playing with whenever I wasn't working.

[00:09:26] Um, but you know, I would have to go to work, go home, work on film riot on the weekends. I would drive up to my parents' house where, you know, my friends and brothers and sisters were, which was like an hour from where I lived, uh, because I worked in Miami. Um, and you know, we would shoot everything. And then from Monday to, or really Sunday night to Wednesday night, I would be editing every night.

[00:09:53] Every second I possibly could. So it'd be like go to my full-time job, come home, edit it. So then every Wednesday without fail, I would stay up all night until Wednesday, Thursday morning, where I would click, upload, put my pants on and drive to work. So there was one day a week that I want, or one time a week that I went two days without sleeping.

[00:10:11] Every week without fail for like, Oh man, I don't even know it. I usually say it was close to a year. I don't know if it was closer to year, but it was a long time time until like it started affecting my health and I had to figure something else. I was like, man, I need to, I need to quit my job. This is crazy.

[00:10:26] Ollie: [00:10:26] The thing about film riot, the thing that stood out was just how high the production quality was and how much it felt like it was more than just an internet show you

[00:10:34] Ryan Connolly: [00:10:34] started talking about. That's what I referenced. Like I didn't want it to be an internet show. I want it to be a TV show. And that at the time, like what came from it was, you know, I was making, I was working on a short film, which ended up becoming talent and I didn't want to release yet another short film.

[00:10:49] That nobody saw nobody cared about. And so that was the thought process of like, man, how do you make a community where it seems like, cause I'm not a festival guy festivals, aren't going to like the type of things I make. I'm an, I'm an audience, I'm a filmmaker for an audience, you know, that's me and festivals.

[00:11:01] Don't really like that type of filmmaker, usually, especially back then. And so it was just like, man, where's where can I put things where. You know, somebody would enjoy them, I'm making them. So, you know, that's the point of what I want to make. That's where my passion lies is to make something for someone, not, you know, just to make it and Pat myself on the back.

[00:11:21] Um, and, uh, so that was a factor of it. And really like the springboard that really got my brain turning was a friend was very frustrated that he had no way to go to film school. He just didn't have the resources, it wasn't going to happen. And there was just no information online whatsoever. The only thing that was online at the time is you had Phillip bloom doing like camera reviews, uh, which were great, but there were camera reviews.

[00:11:45] And then you had Andrew doing his after effects tutorials, which is how literally everyone learned after effects and were great, but it was just after effects. And you had any mogul who really just made props. So there was this huge, like span of filmmaking that just wasn't being addressed at all. And, um, I didn't want to approach it in a way that was like, I'm going to teach you how to make film.

[00:12:07] Because I'm always trying to be extremely objective. And I was objective enough at the time to know how green I was, how much I had to learn, how much I'm just still on the path to learn. Cause I mean, I went to full sail for film school and I went to full sail specifically because I wanted to know where buttons were.

[00:12:21] I didn't want them to tell me how to tell a story. I wanted to figure that out on my own. My idea, even back then was go to a year-long tech school, learn what all, you know, all the tech stuff that's in my way, creatively. And then go put myself through another film school, figuring out how I'm going to deliver a story to an audience that was kind of the decision I made for me.

[00:12:43] It's not right for everybody, but that's what I made for me. So it's still very, very green. So that idea of what if I made something that, uh, something that followed a young filmmaker from not being very good to hopefully making feature films

[00:13:02] Ollie: [00:13:02] run's approach was what drew people into film. Right. It wasn't told from the perspective of someone who had been there before.

[00:13:08] It felt like you and a friend were muddling through all the challenges together.

[00:13:14] Ryan Connolly: [00:13:14] Don't be a filmmaker. Let's figure it out. We're going to be following in the early days of film riot. The opening bumper was you want to be a filmmaker, so do Y let's figure it out. It wasn't want to be a filmmaker. We'll show you how you know, it, it wasn't that. And that's still stuff that drives me a little bit nuts to this day where it's like, no, I mean, we're figuring it out.

[00:13:33] Just be honest about that. So it wasn't a weekly. Here's how you do this. It was a weekly, here's what I figured out, you know? Um, and so I really wanted to put that out, hoping that in 10 years, if I am able to make that feature, that the 14 year old filmmaker like me who, you know, didn't know how, what the next step was, could go look at this thing and be like, Oh my gosh, she has a show.

[00:13:56] And then track backward all the way to, he was just like me, this sucks, you know?

[00:14:02] Ollie: [00:14:02] That's approach has given the show real lasting power. It's now been around for over a decade. The show has seen the landscape of how online video has changed over the years. Creators have come and gone, but one of the best things about film riot has been that it's always kept its personality.

[00:14:16] Ryan Connolly: [00:14:16] So it's not really. About chasing, you know, so much what's next or, or what other people are doing or anything like that. It's more, you know, what, what do I think is now a huge factor is what do I think would be very useful to the community, this community that we've built the filmmaking community, because now it's kind of in a place where I am getting a, you know, a bit further in my career, right.

[00:14:39] There are things I do know now and have been able to experience, and I kind of want to pass that knowledge down and, and what I've found helpful and the roadblocks that I've found and try to put that out there to help people navigate those. Because at its heart, at its core, it's a show about filmmaking for filmmakers, you know, people who want to do this and we want to keep it entertaining.

[00:15:02] So pretty much anybody could watch it, but. You know, at its core, it's, that's, you know, that's the heart of it. Uh, so that's really, we've been the thing that, that we've chased, but, uh, yeah, things definitely have changed quite a bit. And I think the major changes barrier to entry is so much smaller. Like even from when I started, it was, it was more difficult.

[00:15:24] Technically, you know, that information again, wasn't readily out there, um, for even just how to. You don't put something on, put something together, how to edit something, you know, all that stuff wasn't really out there now, you know, pick your channel. There's like a hundred different channels teaching how to do just that, how to edit it with, you know, every, you know, uh, editing software, you can possibly imagine free editing software, how to grade it, you know, shoot it on your phone.

[00:15:51] Totally doable. Like at the time, even having a camera that wouldn't look like. Garbage was, you know, you're, you're not paying under $5,000 for sure. You know, uh, there was a portion of film riot where we lost our main camera and we ended up having to use a home video camera, like a little Handycam and it just, it was like, A thousand dollar camera and it just look horrible, horrible.

[00:16:19] Whereas like your phone now I have shot stuff with it, my phone and cut it together with an Alexa. And because obviously it was the right circumstance. He didn't know it, it just cut. Uh, you know, obviously you put those, that footage side by side in a harder situation. Uh, that's not like outside daylight and you know, you're going to be able to tell for sure, but the point is like our phones are so good.

[00:16:41] You really could shoot a whole thing. I shot a whole episode on the iPhone just recently and it was fine. It was actually pleasant to shoot with. It was, it was an easier process and it looked fine and it sounded good. So the barrier to entry is so much lower for people now and the information for how to do it.

[00:17:00] You know, it's been out for so long and it came from a place of, you know, somebody like me, who. Uh, you know, just had to figure it out by trying things too, you know, now even I can just go onto YouTube and type of thing and then, Oh, okay. So that's how you do that. Uh, it's just, uh, it's a much different world and it's a generation that's come up in that much different world that has just been educated in those things for so long.

[00:17:23] So the content is so much more advanced now than it used to be. You know, you have. Better pacing, better understanding of how to tell a story or how to engage an audience, which is great. So I think that's the main difference, you know, and I think just like with everything as the times change as society changes, so does the content.

[00:17:45] So keeping up, you know, being relevant in those terms, not being out of touch, you know, is important. And I think that's always an ever-changing, but for the most part, things feel similar, they just feel more polished. You know, you had filled the Franco in his bedroom and now you have him in a full-blown studio.

[00:18:03] Uh, that, that seems to be the main difference to me

[00:18:10] Ollie: [00:18:10] much like how Ryan created the show to stand toe to toe with directors. The world has flipped around on him. People. Now, what film riot to learn, how to make online videos, the goalposts have moved from what people wanted to be a YouTube. These days is as influential as a film director, the skills Ryan teachers, aren't just confined to film or cinema that the tools people need to communicate and tell their stories.

[00:18:31] These days, the sticking point has always been the motivation behind why people tell stories. People don't just make to make anymore. They want an audience. They want their message to be heard. Thing is to be the voice, to be the director. You need to start small and make mistakes.

[00:18:47] Ryan Connolly: [00:18:47] The first thing is like, what exactly do you want to do in this thing?

[00:18:50] Do you want to be a cinematographer? Okay, well then that's fine. Go shoot pretty pictures and figure out how to shoot pretty pictures. Figure out your exposure, figure out your contrast, figure out, you know, your perspective, how you see the world, figuring that out. Uh, you know, if you want to be a director, then you're adding all of that plus the story.

[00:19:07] Um, and I think. Con tent context, you know, perspective, you know, story, your audience, those things are the things you need to be thinking about. And I think the thing that frustrates me most, and I'm so thankful that I didn't have this problem because. You know, social media and, uh, you know, YouTube videos.

[00:19:30] Weren't how they were. When I was coming up, there was no option to show anybody what I was making zero option. There was no upload. There was no like dislike button. There was no comment section. There was no subscribe. I was making things because I had to, I adored making things. It wasn't a popularity contest.

[00:19:49] You know, I wasn't trying to get more views. The only views I was going to get were the same views. My parents, that's it. You know, whereas now I have so many kids, uh, tweeting to me, uh, you know, very young ages or even, you know, in their twenties, in their college, after college, but they're brand new to this and asking me how to get more views and, you know, As nicely as I can say is just keep making things you're not good yet, you know?

[00:20:20] And of course not, no one starts and is good. You know, you see people that have been doing it for 10 plus years and you think you're going to jump to right to that level. No, those, those people put in the work like before film, riot ever even went on air. I had been five years out of film school and, you know, Almost 20 years of doing it, you know, from a little kid on, you know, making things and showing it to people.

[00:20:47] Um, so just getting that idea, that very damaging idea to where if you truly want to be a storyteller of any kind, the like button, the view count that's poison. That should not matter 10 years from now when you're making killer stuff, uh, then you know, Be worried more about that. But even now, honestly, when I make short films, uh, when we make episodes, you know, I, I always joke around with Josh.

[00:21:14] We'd probably get more views if we did care, but we don't think in those terms,

[00:21:20] Ollie: [00:21:20] right. It doesn't just make film riot though. The channel and his career, also home to his short films, these films show off that experience that Ryan has built the steps that he's made towards becoming a feature director.

[00:21:31] They've been everything from horror shorts that comes and knocking and tell to action flick ballistic, and even Saifai in Sentinel and UFO. Yeah. Well, they haven't been as something that isn't personal to Ryan

[00:21:42] Ryan Connolly: [00:21:42] just make something that I want to make like, okay. So ballistic actually came out of an almost attempt.

[00:21:50] I was almost convinced to make a fan film of sorts. It was going to be something where in the end you realize, Oh, she has powers and, Oh, it's Jean Gray and. That probably would have gotten millions of views off the bat would have been posted everywhere and I was writing it and I just couldn't do it. I didn't care my heart wasn't in it.

[00:22:10] It's not something I wanted to make. I don't want to make somebody else's thing, which nothing against fan films. I actually love fan films. Um, but some people's hearts. Art and fan films, somebody people are passionate about that character want to do that. That's not me. I can't really gravitate to something with that, without it being mine, you know?

[00:22:29] Um, the, you know, if it was, it's like an official thing that would be totally different because then you're truly, honestly putting your stamp on the thing. Um, but as a fan, I just, I was writing and I couldn't do it. And then I ended up writing something else entirely that had nothing to do with it. And I made that

[00:22:52] I mean, it ended up doing really well. It's over a million views, but that's over two years at the beginning, it didn't do a ton. There comes a knocking ghost, house change, all those things were always, what do I want to make? Sure. What do I think an audience just would enjoy? It's not about the view. So getting that stuff out of your head, especially when you're first starting out and having the objectivity to embrace the fact that upfront, it's not going to be great.

[00:23:24] That's just how it is. You have to put in the hours. It's like. It's just insane to me. It's like photography and, you know, podcasting, there's this weird idea that you're supposed to be good and an audience needs to be flocking to you right away. Do you feel that way about painting? You know what I mean?

[00:23:41] Like, are you going to be handed a canvas and some paint and then of course, right away, I'm going to make an incredible painting. Of course not. You know, you need to put in the hours the years to perfect that to really. Figure that out. So that's something that I think that's the main one. Like, but if, if the focus isn't on the love of making things and not only that, but you know, the lack of care about the view counts and the thumbs up or thumbs down, just the focus in, on make a thing, make it the best you possibly can put it up.

[00:24:14] No, you're going to fail in some way. Look at the failures, uh, analyze that. Go to the next thing. You know, we, we do a contest for instance, and without fail with the contest, there's always a handful of people who are so disappointed that they didn't win or that they weren't even picked for the, um, the runners up and, you know, or win a contest in my life, you know, ever not once.

[00:24:39] And, uh, I've just only lost them and every time without fail, it's like, okay, but where do they see what I do next time?

[00:24:47] Ollie: [00:24:47] Ron speaking from experience, having a YouTube channel has an always guaranteed success, especially when it came to dealing with the industry who always wanted to break into Holly.

[00:24:56] Ryan Connolly: [00:24:56] Um, a really good example that I talk about all the time is.

[00:25:00] I made UFO. Yeah. And a director friend of mine that's doing larger projects out in Hollywood was cool enough to, I didn't even ask him, he just pass it along to producer that was producing his feature at the time, chosen wisely to tell you my new friends

[00:25:19] and basically long story short, the producer's reaction was, um, That's cool. He's talented. Not yet. And, and that, that idea of not yet was like really frustrated. Cause I mean, when UFO yak came out, that was like 2015, I think. So you're, I'm 11 years out of film school at this point, you know, beating my head against the wall every single day, you know, with film riot.

[00:25:43] Every week without fail, constantly doing this thing, uh, at the time, like 10 short films under my belt. Uh, so it's like, not yet. What do you mean? And so I went and I looked at it and I was like, you know what, I, I get what he means, you know, it's there, there's something there, but I, I haven't perfected it yet.

[00:26:02] I haven't gained the experience needed the understanding needed for somebody to really bet on me and. Instead of that being discouraging, it was encouraging. It was like, okay, I get ya. It's not, no, it's not never, it's not yet. And that I can work with. And so, you know, that's when it really became a conscious thing.

[00:26:25] Whereas before. I was doing it, but I didn't realize what I was doing. It was just like I was talking about before being naive enough to just be plowing forward because of the passion of the thing. But at that point it became a conscious thing that I could articulate of. I need X experience. So, you know, from that point on, it was a very strategic, uh, this is I'm going to do this next and I'm gonna do this next because I knew what I hadn't, uh, had enough experience in.

[00:26:55] I knew the things I didn't understand. Um, and you know, that led to building. So a more of a focus on that. And humility obviously is paramount. Uh, in this industry, it goes quite a long way. Humility with confidence. It's a tough balance, but it is insanely important,

[00:27:18] you know, as. I get older, you know, things are happening now behind the scenes that are exciting and, and are very hopeful toward, you know, looking like I might actually achieve that goal that, that, that I've always wanted to achieve, but this industry is super volatile and it's, you know, it could fall through tomorrow and I just literally never make a movie of that kind.

[00:27:39] I mean, I'll make a movie. I I'll make a feature, whether it's for a hundred bucks that I do myself over the course of three years, or it's actually a studio that says, all right, well, We'll make this bet. Um, I'm going to do it, but you know, if it ends up being something that's not financially viable, you still need to take care of my family.

[00:27:57] You know, I still need to be able to take care of myself. So that's a totally different discussion I have to have with myself when it comes to that sort of thing. So, you know, also being smart to, you know, having a foundation to fall back on. Because this is like, you know, I was naive enough early on, but once, you know, I got married, there was a much different thinking, you know?

[00:28:23] And then once I had kids even more so, you know, there's people counting on me. I, you know, I can't be irresponsible. You know, uh, I'll, I'll do everything I possibly can to achieve this goal, but not at the expense of my family's wellbeing, you know? So, so there is that factor too. Um, that's, you know, it's a, it's a sucky thing to have to think about because you know, it's possible.

[00:28:46] It's possible that it would never, it'll never happen.

[00:28:49] Ollie: [00:28:49] Storytellers are wired a bit differently. Like Ryan, there's this itch that you have to scratch that feeling that you need to put something out in the world, putting something up on a big screen with hundreds of millions of dollars behind you would be amazing.

[00:29:01] But sometimes just being able to tell the stories that you want to tell on your own terms is the perfect place to be film riots and Brian's work has carved out its own medium. It's not really just a show. It's a movement. Sitting down to watch an episode of Oaks, a similar feeling to when you go to the cinema, you are eyes wide with wonder and that, how did they do that feeling in the back of your head?

[00:29:23] And then Ryan actually shows you how it's done when there's still that kid that wanted to be a director thing is he seen the industry now and knows whether he needs to perse to get to the point where he wants to be. You know,

[00:29:34] Ryan Connolly: [00:29:34] it's just a hard, hard industry. Um, it's it, you know, it's, there's more options now.

[00:29:40] Thanks to streaming. There's a lot more content happening. Um, but you know, it's, it's just a crazy industry. So it's, I always say to people, somebody asked me on Twitter the other day, like I'm like 20 and I haven't been doing it that long. I feel like I'm not getting better. Uh, what advice would you give me to get better at it?

[00:29:57] Because I want to do the blah blah. And I'm like, well, you're asking yourself the wrong question. The question is, is there anything else that you can think of that you can do and be happy? If there's something else that you feel like this could be my career and I'd be happy doing that, go do that. This isn't for you.

[00:30:11] Uh, because this industry is so bat shit crazy. It's so hard that if you can be happy elsewhere, you should probably be, uh, there is some, all my friends who have the same sickness, we all talk about the same thing. Like, why do we do this to ourselves? You know what I mean? Because it really is like this.

[00:30:34] This sickness that there's just no cure for us. Like we have the filmmaking bug and nothing else will make us happy. I mean, I tell this story all the time. There was a point in, uh, you know, like three years ago where I thought I was burnt out from just how much I was working. So I ended up going on a vacation for the first time, since my honeymoon was like, which was like seven years before that.

[00:30:56] Um, and it was a very nice relaxing week, long beach vacation. I came back, uh, and I felt physically rested, but emotionally I felt the exact same. And what I found out was I was like in a depression because I hadn't made a project in a really long time. So the second I started developing the next thing we were going to do short film wise, like, you know, one of my things that I'm making for an audience, all of a sudden, boom, I felt like me again.

[00:31:20] All of that went away. It's just, it's weird. You know, it's weird. And I think like the, the, the phrase that I've always said is if you wouldn't rather live out of your car that not do it, do something else and do this as a hobby. Um, and you know, I stand by that just because it is such. Uh, hard and, you know, uh, abusive career, like, you know, there's so many ups and downs and, uh, you know, so many punches to your, your confidence.

[00:31:50] Um, it's discouraging often. So, you know, if you don't have that, like unwavering eat, sleep, drink, passion for it. It's like, you know, just do this as a hobby. Why would you do that to yourself? I lucked out and I'm definitely feel blessed, uh, that I'm very lucky to have like, film, right. She's still in the arena and that's kind of, you know, my company is my backup plan and it's still, it's still in the arena, that ultimate goal.

[00:32:21] So, you know, I don't know. I don't think I'll fall into a deep dark depression if I don't make it because I'm still making the thing and, and kind of a side effect of film riot was. The passion and love of educating that came out of it. Like helping people achieve their goals has been kind of one of the biggest rewards of my career so far.

[00:32:44] Like, you know, some people that have gone on to actually do stuff and some meetings that I've been having lately with, uh, uh, certain people have they, they watched film riot, and I'm like, wait, I'm sorry, what? But, you know, you get like, The people who are producing or, you know, creative executives now that are like 28.

[00:33:03] They were 17 when the show started, which is like, wait, what? You know? So it's, it's really cool. And that's been, um, uh, a huge passion too. So I feel like I'll be okay. You know, if it never gets there, but you know, fingers crossed fingers crossed.

[00:33:21] Ollie: [00:33:21] This has been Pathfinder, a show about storytelling. If you haven't already go check out from rice on YouTube.

[00:33:27] Follow Ryan on Twitter at Ryan underscore cannoli and check out the short films at film it's dot com. Thank you so much for listening to Pathfinder. You can find more about the stories on our and follow us on Twitter and Instagram at par fund to show the show is written by me, Ollie judge.

[00:33:46] It is edited and produced by Roger Morley. See you next week.