(Photo Credit: Marisol White Amanita Photo Co.)
How many years have you been doing filmmaking?
There’s a few different ways I can answer this – I technically started writing music video treatments and scripts back in 2013, and I bought my first camera for Color Me In Media near the end of 2017 with my World Series of Poker winnings from that year.
But I wouldn’t say I really became a filmmaker until mid-2019. I made some of my first film friends at the Snake Alley Festival of Film and acted in my first short a bit after.
From there I really started making the transition from just a videographer to a filmmaker. Being able to have my first PA (Production Assistant) gig be on an MTV show (True Life: Crime) that same summer was a blessing that helped me really jump into the world.
How far do you normally travel to work on a project and where is the farthest that you’ve traveled so far?
For the most part, I’ve stayed within Iowa – a lot of my work happens between Burlington, Des Moines, and Dubuque. There are times where I’ve traveled out of the Midwest, and I’d like to get more of that under my belt. My team is more than willing to travel!
As far as furthest for strictly film/production work: the most I’ve driven was to Wichita, Kansas and I flew to San Diego for Say Days Ago’s series of music videos as an actor back in 2021!
What inspired you to get into filmmaking?
Truthfully, my career so far has been a happy accident. I know that I’ve always had a penchant for storytelling, and writing was one of my first loves.
When I finally had access to the tools and opportunities to work in film, it was a natural fit and I’ve never doubted I was meant to make my way to the medium.
Now what keeps me working is that there are ways that I need to continue to express myself, there are stories out there that I think need to be told, and most importantly – I think I have a unique way in bringing people’s visions to life who wouldn’t normally have the platform or access to do so in a way that feels true to them.
Do you remember the first film or music video that you did was, and have you gone back and watched it recently?
Caught In The Crypt’s “Silent Suicide” back in Oct. 2018 – we filmed back in March of that year, but it was one of those things where I said “yes” before I even really knew what I was doing (sorry Hunter) so it took me a long time to get it finished.
A lot of my highlights were blown out, I didn’t get enough coverage of the live performance for that song so I subbed in some B-roll from the rest of the night, and there was also a section where I had to blend the live audio from my friend Jordan’s (Bennink) mix from that night and transition it back to the song.
I remember at one point I just had all my show clips stretched to weird decimals like 93.8% to get them all synced, and I was just looking at my timeline like: “wtf am I doing”.
I watched it back recently, and you can even tell there are parts where I fell back on an effect when I hit a wall on the edit.
But it’s at least still a fun watch!
Who are artists that inspire you?
I think one of the most important things for any creative is to be inspired both inside and outside of your field. I could go for days about musicians, composers, and other artists outside of film, but I’ll keep it inside the industry.
For example, I’d have to say my specialty is narrative music videos – or music videos that are closer to short films in the way that they’re planned, shot, and edited.
So, I have a certain love for directors that proved themselves as music video guys and went on to make some of my favorite films: David Fincher rose to fame directing Madonna videos, Spike Jonze with Weezer’s ‘Buddy Holly” and Fatboy Slim’s ‘Weapon of Choice”, and Michel Gondry’s work with Björk then going to “Eternal Sunshine of the Spotless Mind”.
And because music videos are primarily a visual medium, I also pay attention to a good mix of older and younger Cinematographers/Directors of Photography (DPs).
Emmanuel Lubezski’s (Birdman, Gravity) style of framing characters and his penchant for longer takes is something I find myself drawn to – I like large concept set pieces and choreographed sections in my work. (see SUELO – noccio for an example).
Taylor James Randall’s (Eminem – Godzilla feat. Juice WRLD) music videos blow me away every single time – I was introduced to his work through a seminar with the creators behind Justin Bieber’s “CHANGES” visual album (thanks to Ben Hagarty and BWNC: an invaluable podcast with a large back catalog to listen to and creator community).
And to round out the visual side of people that inspire me (in no particular order):
Bruce James Bales – DEFT shot my first music video back in 2013, and then we kept in touch over the years. After I started cutting my teeth in the local film scene, Bruce became one of my biggest advocates and supporters, and most importantly a good homie in and out of film. I’d also say he’s easily one of the most talented working filmmakers in Iowa, if not in the country.
Benjamin Schmidt – Benjamin is my most frequent collaborator as my go-to Director of Photography on most music videos I direct. The way that he views the artform forces me to be better every single day, and he’s also easily one of my best personal friends. I’m the lead in his feature film “Ellie & Xavier” so I’ve also been learning from his directorial style. I also like to think he's one of my best friends.
Marissa Vonn - Marissa is one of the most talented writer/directors that I know, and the way that she approaches her characters and guides her actors' performance is something you have to see in person to fully appreciate. I had the privileges of doing a table read for an earlier draft of her feature film "Knee High", and later working production for that same film. We all lived in the same house (#HH4L) during principal photography and I am so thankful to be friends with her, let alone work with her.
Ben Hagarty – Over a decade ago, I met Ben at the beginning of his career when we were both in hip-hop groups and he was at UNI. The way that his life has been since then has been nothing short of legendary: he made the leap to LA, grinded harder than everyone, and ended up shooting for Beyoncé (and so many more icons) and getting a GRAMMY for it. The idea of a guy from Cedar Falls making it is an inspirational story to follow, and he’s just a great guy in general.
He started a podcast and creator community called Black With No Cream, and I can’t tell you how much the knowledge I’ve gained from there has elevated my craft and how the connections/friends I’ve met through BWNC have also inspired me to improve all the time.
Cole Bennett – If someone is working in music videos right now and say they don’t know who Cole Bennett is, they’re lying. Lyrical Lemonade is one of the biggest brands in the world, and there’s so many videographers and companies that try to emulate his style and the way he built that these days.
I think my main takeaway is that his work has such a cohesiveness to it, and no matter who the artist is you can tell that he had a hand in it – I’d love for my work to have the same strength in identity.
(Photo Credit: Brandy Swartz)
What is a piece of advice that you want to tell someone that is just getting into film making?
I’ve got three: don’t be afraid to ask questions, don’t be afraid to put yourself out there, and respect boundaries.
You could be one of the most creative people out there, and no one would know unless you present that to the world – whether that’s your next song, video, film, whatever. There’s a perfectionist side of me that makes that hard sometimes, but more people than you know will resonate with what you’re making than you expect.
And I can’t overstate how important it is to be visible – so many of the referrals that I’ve received were because people know that I direct music videos or that I work in film.
Some notable ones from this year include a project with an Emmy-winning director and another working with someone from the Lyrical Lemonade team.
People can’t point you in the right direction if they don’t know what you’re looking for.
In the same vein: we’ve all heard of “fake it until you make it”. And I think that it works in contexts where the confidence boost is the key.
But, when it comes to actual things you don’t know and WANT to know: you can’t be afraid to ask. The only bad questions are ones made without good intentions.
Learn as much as you can through videos, podcasts, books, etc. before you get out there – but sooner than later, make the jump and get on a set as soon as possible.
You’ll grow so much more.
In fact, if you’re reading this and interested, please feel free to e-mail me and I’ll do my best to point you in the right direction.
And last - respect boundaries.
I'd almost say this is the most important one. Not only should you know where your own boundaries are, so you can put your foot down when you need to - but you need to pay attention to where others' are as well.
It's okay to be obsessive over your craft, it's not okay to be obsessive about people. We're all trying to make art or a living, and when we're lucky we can do both.
But if you start stepping over where people are comfortable or assuming things, people don't want that around them. There's social climbers in every industry, but it's especially bad in film and music and nobody wants to even come close to the feeling that they're being used.
My friend Marissa has a "no assholes on set" rule and it's a great one to live by.
(Photo Credit: Getty Images; Taken by Barry Brecheisen)
During setup for the next music video that you’re producing what are 3 songs that get you in a creative mindset?
First song I’m blasting is whatever song we’re shooting for – I want to know every single note, riff, articulation, how the musical phrases evolve, and what’s happening in the lyrics.
If the song’s the foundation for the video, I want to know exactly how we’re working with it or as a counterpoint. I need to know it like the back of my hand.
Second choice: it’s the first song of my focus playlist Impossible Worlds by Todd Baker. My brain is conditioned to go into a flow state once that song starts, so I use it if there’s logistic stuff I need to do (line producer work like releases, deal memos, etc.).
Third is a toss-up: I’m definitely a song repeater, so it just depends on what I’m into at that very moment. Right now I’m really into some Alt R&B, so Shook by Cautious Clay has been in rotation.
Where can we find your business
Right now, I’m in the middle of redoing all my websites so the most reliable way to find me is through Instagram:
@eehmeal (personal)
@colormeinmedia (portfolio)
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