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Speaker 1: People coming to me for my style, Like a few

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Speaker 1: weeks ago with Phlesa hit me up at my DM

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Speaker 1: and I was like, oh, I love your style. And

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Speaker 1: then when he sent me the song, I'm like, the

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Speaker 1: song sounds like my style, which is very like art

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Speaker 1: Atlanta hood put together.

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Speaker 2: I love to welcome everybody to butter Nomics. I'm your host,

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Speaker 2: Brandon Butler, Host of Love Butter ATL and today we

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Speaker 2: have a special special guest. You might have seen a

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Speaker 2: couple of things she's produced, you know directed, you know.

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Speaker 3: Just a few videos here and there.

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Speaker 2: You know, people like Anderson Park and t I and

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Speaker 2: Future and on on on East of Ray's YouTube and

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Speaker 2: all this other stuff. We're gonna getting all this in

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Speaker 2: just a second. I want to introduce everybody to the

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Speaker 2: One the Only Miss Maya Table Maya, How you doing good?

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Speaker 1: Hey y'all, y'all happy to be here. I'm super fan

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Speaker 1: of butter atl So I'm excited we are a fan

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Speaker 1: of you.

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Speaker 2: That's why, you know again, Like, look, it's always funny

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Speaker 2: when you meet somebody in real life that you just

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Speaker 2: know from like social media at first. So I remember

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Speaker 2: when me and my first maybe we're kind of walking

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Speaker 2: by each other looking like I think I know it

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Speaker 2: from somewhere. Yeah, I know, yeah, she pulled up to

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Speaker 2: the four and four day softball game and I'm not

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Speaker 2: going to would help. That was the pink hair. So

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Speaker 2: I'm glad you got the pink hare for us today.

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Speaker 2: You know what I'm saying, The very very striking.

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Speaker 3: Thing going on. How's everything on your side of the world?

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Speaker 1: I was good. I'm here in my summer home, you

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Speaker 1: know at the moment, AKA, my little sister's house in.

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Speaker 3: DC, all three coasts, all three coasts, ing.

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Speaker 1: Up all her food and stuff.

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Speaker 3: So I'm doing great, living a life.

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Speaker 2: Well, my look, you are a director, a producer, an entrepreneur,

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Speaker 2: many more things. But for the people don't know, just

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Speaker 2: give him a quick Who is Maya Table? Tell us

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Speaker 2: little bit about yourself.

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Speaker 1: Maya Table is from Memphis, Tennessee. But I've been in

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Speaker 1: Atlanta long enough to say I'm from Atlanta since the

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Speaker 1: fourth grade. And Maya Table was an artist. Sourly, I'm

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Speaker 1: just director, but I have been director, producer, editor, and

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Speaker 1: visual effects artists. I'm a sister, daughter, somebody's wife, own know, somebody,

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Speaker 1: you know what I'm saying. But somebody's son, exactly.

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Speaker 3: Do That's dope.

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Speaker 2: That's dope, so might tell so so right now, you

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Speaker 2: know you start off as a producer right now on

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Speaker 2: your website everything else that says director sot Off as

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Speaker 2: a director, Okay, yes, all right, yeah, so what you

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Speaker 2: directed nowadays? What's what you're working on right now? What's

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Speaker 2: what's what's the favorite project you're working on right now?

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Speaker 1: You know, every project is a favorite. I'm not gonna lie,

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Speaker 1: just because God is good and like when you work

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Speaker 1: so hard for projects because directors, we usually have to

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Speaker 1: be it on projects. So when you do land them

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Speaker 1: is amazing. But all of them are my babies. I

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Speaker 1: love them for different reasons, you know. I say the

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Speaker 1: most recent is probably the one with Lexis and Anderson

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Speaker 1: Pop because I got to do some more car stuff

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Speaker 1: and I'm doing more car lately, and always the stuff

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Speaker 1: with my uncle Puci just because you know, our chemistry

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Speaker 1: together is so fun. And a lot of my projects

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Speaker 1: I get from brands come from seeing me and my

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Speaker 1: uncle Puchi interact.

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Speaker 2: So we and we're gonna get into Uncle Puochi in

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Speaker 2: a second. But you just said something was interesting. You

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Speaker 2: said a lot of directors have the bid for projects,

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Speaker 2: tell us like, what is bidding for a project from

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Speaker 2: a director?

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Speaker 3: Like, what's that process?

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Speaker 1: Agony under Mann bidding for projects, So, whether music video

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Speaker 1: or commercial space. For music videos, you listen to the song,

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Speaker 1: the label will tell you the budget and you just

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Speaker 1: dream a dream. You come up with your idea and

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Speaker 1: then you write it. The artists will read it and

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Speaker 1: then they decide if they want you to direct it

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Speaker 1: or not. And now when it comes to commercial projects,

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Speaker 1: it's triple bids, so as you plus two other directors

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Speaker 1: disubmitting these aready paid treatments. You have to do two

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Speaker 1: rounds of interviews with the client and then you decide

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Speaker 1: if if they want you to direct it or not.

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Speaker 1: So some of the same things, but it's just pretty

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Speaker 1: ruling for directors. So I've really been working on developing

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Speaker 1: my style so when people come to me and I

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Speaker 1: do or don't get it, it's because of my style.

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Speaker 1: And so that's been making my chances to be a

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Speaker 1: lot higher of like you know, hitting the ball out

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Speaker 1: the part because I know, like, Okay, they want my

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Speaker 1: style or this or this fits me, and then now

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Speaker 1: I'll just say no if I don't like the like

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Speaker 1: the project at all.

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Speaker 3: And how would you describe your style.

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Speaker 1: Hella black, Let's see colorful, charming. I used to say comedic,

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Speaker 1: but people told me to say charm instead of comedy.

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Speaker 1: And it's usually a lot of like energy behind it

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Speaker 1: because I usually shoot sports or men for the most part,

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Speaker 1: So you know, emotional.

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Speaker 3: Okay, passionate okay.

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Speaker 2: So when you're talking about the bidding process, you know,

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Speaker 2: what do you think is one of the biggest factors

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Speaker 2: when it comes to is it that style create a vision?

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Speaker 2: Is does budget come into play? Like what are some

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Speaker 2: of the factors that you know, people and brands and

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Speaker 2: artists us to kind of make a decision on the director.

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Speaker 1: That's a great question. The times I've had a chance

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Speaker 1: to ask companies, sometimes going into it, they already know

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Speaker 1: who they want to direct it, which is unfair. It's

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Speaker 1: unfair unless I'm the one that wanted to bid, you know.

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Speaker 3: Like he's just going through the emotions of other people,

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Speaker 3: right yeah.

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Speaker 1: Yeah. But most times I try to get single bids,

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Speaker 1: which is great because people come to me for my style.

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Speaker 1: Like a few weeks ago, Whisker Leaf it hit me

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Speaker 1: up at my DM and was like, oh, I love

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Speaker 1: your style, and then when he sent me the song,

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Speaker 1: I'm like, the song sounds like my style, which is

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Speaker 1: very like art Atlanta hood put together. So now I'm

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Speaker 1: just kind of getting my style stronger. So people come

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Speaker 1: to me knowing that they want that. So but usually

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Speaker 1: it's based on if they want the director's style or

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Speaker 1: somebody that they want to work with, or if it

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Speaker 1: just happens to be even they like my spin that

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Speaker 1: I have on the creative it's dope.

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Speaker 2: No, Now you mentioned Atlanta, so I got to ask

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Speaker 2: about that, like how did Atlanta influence my table.

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Speaker 3: Style so much?

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Speaker 1: Because Atlanta is so creative? And then sometimes I always

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Speaker 1: wonder why there aren't more Mayas in the world because

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Speaker 1: it's like, I think you can see the influence that

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Speaker 1: Atlanta have has on mail artists, whether it's like graphic designers, painters, directors,

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Speaker 1: but we don't see a lot of it from women.

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Speaker 1: And I'm like, I'm a direct reflection of Atlanta and Memphis,

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Speaker 1: just southern where you just love every type of black person,

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Speaker 1: the good, the bad, and the ugly, and we love

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Speaker 1: an elevated you know, black person and person of color.

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Speaker 1: And I think that's what my voice is. And I

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Speaker 1: definitely got that from Atlanta. So even when I'm in

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Speaker 1: la I always find it's important to come back to

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Speaker 1: Atlanta because I am a reflection of my family and

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Speaker 1: all of my work. And see my family, which is

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Speaker 1: very intelligent, hilarious, loving, love black people. They're the best

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Speaker 1: of what they do, you know, So I think I'm

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Speaker 1: a direct reflection of that. So Atlanta and I'll never leave.

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Speaker 3: That's a good question. Why aren't there more mayas well? Well?

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Speaker 3: I don't know the answer to that question. But you know,

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Speaker 3: one of the things you mentioned before.

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Speaker 2: We were talking was that, you know, you originally wanted

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Speaker 2: to go to Spelman. They didn't really have the film

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Speaker 2: program that you were hoping they would have, and so

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Speaker 2: you ended up at Georgia State. And you're also interested

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Speaker 2: in like dermatology, So help me understand that, right, Like

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Speaker 2: are all the other Mayas they're trying to be dermatologists

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Speaker 2: right now? They're trying to figure it out, like how

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Speaker 2: do you go from dermatology as an interest to you know,

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Speaker 2: becoming a director?

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Speaker 3: Like what's that process?

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Speaker 2: And more importantly, like what skills do you think might

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Speaker 2: have been transferable if anything?

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Speaker 3: And kind of having that interest?

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Speaker 1: Yeah, yeah, yeah, I found out that I was swamish

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Speaker 1: to blood in high school, and I was like, that's

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Speaker 1: not gonna work because what I would throw up or

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Speaker 1: if you tell me, like if you tell me you

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Speaker 1: cut your finger, then my finger will hurt or whatever

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Speaker 1: part of you that hurts is going to hurt too.

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Speaker 1: So that didn't work out. But when I was in

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Speaker 1: high school, I kind of did this like mixtape for

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Speaker 1: my friends and I was like, well, that was really fun.

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Speaker 1: And then we did a talent show and I put

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Speaker 1: the dance together and I was like that was fun.

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Speaker 1: So that's when I realized I like to see if

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Speaker 1: pieces come together, and so it took me a minute

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Speaker 1: to figure out what it was that I liked. But

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Speaker 1: I would just start paying attention to things that resonated

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Speaker 1: with me, Like I saw Do the Right Thing a

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Speaker 1: long long time ago, and I was like, wow, that

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Speaker 1: movie had sweaty black people. Because I thought that actors

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Speaker 1: had to look a certain way, and I never realized

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Speaker 1: that actors could look like regular people until that film.

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Speaker 1: Or I would look at films that Steven Spielberg would

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Speaker 1: do and be like, wow, this feels like magic. So

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Speaker 1: when I was in college, I went for communications at

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Speaker 1: first just to figure out what I want to do,

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Speaker 1: a number of internships and would just like ask questions

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Speaker 1: like I entered at Radio One, I interned at BT

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Speaker 1: and every music video sit said, TIS twenty four is

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Speaker 1: actually was the first music video I p ate on.

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Speaker 1: And then from that I was like, Okay, I think

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Speaker 1: I have the skills of like seeing things come together,

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Speaker 1: and also I just have a knack for like talking

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Speaker 1: to people and being nice, and I have integrity and

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Speaker 1: those are some of the biggest things now that still

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Speaker 1: work with me.

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Speaker 2: So you know, you just mentioned you know, do the

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Speaker 2: right thing, which is again it is one of my

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Speaker 2: favorite movies of all time. Like what other kind of

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Speaker 2: classic black movies like you know also inspired you?

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Speaker 3: Was it other things by Spike Lee?

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Speaker 2: Were there other movies just growing up that you saw

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Speaker 2: that just really kind of you know, you saw those themes.

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Speaker 2: If you didn't realize it right then, you were like,

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Speaker 2: you know, it was kind of starting to help you

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Speaker 2: figure out and develop what your style was.

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Speaker 1: I wouldn't say style, but just like things that just

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Speaker 1: just settle in my heart, real heart, like Love Jones

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Speaker 1: or Comeing to America, Boomerang, even Friday, but most of

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Speaker 1: the time, it was I'm always finding things that resonate

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Speaker 1: with how I feel on the inside. So sometimes even

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Speaker 1: when I listen to a certain artists and music, the

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Speaker 1: bas in it or even how the person says their

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Speaker 1: voice or certain violind just kind of inspires my thought creation.

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Speaker 1: So it's more just finding things that like feel like me.

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Speaker 1: That's why my hair end up turning pink, because I'm

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Speaker 1: just like, I'm always pretty happy inside and listen for happy,

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Speaker 1: you know. So I just try to find things that

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Speaker 1: I identify with that's dope.

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Speaker 3: That's dope. So go back.

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Speaker 2: So you're coming out of a Georgia state, you're starting

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Speaker 2: to do some internships, you know, you start to get

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Speaker 2: some experience, like can you walk us through kind of

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Speaker 2: early stages of your career, Like what were some key

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Speaker 2: steps or some like I always say, like inflection moments,

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Speaker 2: you know. One they always kind of tell people that

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Speaker 2: I think our careers are kind of like a series

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Speaker 2: of you know, hills and plateaus in a sense. So

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Speaker 2: you know, what were some of those moments and key

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Speaker 2: kind of moments early on that really, you know, helped

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Speaker 2: you get into the industry and establish yourself.

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Speaker 1: Interning just interning and just asking as many questions because

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Speaker 1: I'm one of those people where I feel like whatever

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Speaker 1: goal I have, I'm going to get there at a

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Speaker 1: certain point, so I try to just be very present.

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Speaker 1: So when I was interning, I would just try to

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Speaker 1: be the best intern that I could be or the

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Speaker 1: best PA that I could be. And when I was

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Speaker 1: in school at Georgia State, there's this a lab called

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Speaker 1: the Digital Aquarium, and I worked there and I had

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Speaker 1: to be able to teach other students like all the

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Speaker 1: editing software, all the video equipment, and then from that,

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Speaker 1: you know, it's like a different skill set to be

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Speaker 1: able to learn and teach somebody, especially other students. So

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Speaker 1: that actually was like my biggest flakes. And then somebody

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Speaker 1: in college said, if you learn how to edit, you'll

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Speaker 1: be a stronger director, which was the best thing ever

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Speaker 1: because I still probably like save me percent of my projects.

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Speaker 1: And it helps too, because I'm more of a quiet

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Speaker 1: person for the most part, I'm starting to be more extroverted,

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Speaker 1: but also just like it helps me to like interpret

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Speaker 1: what I'm saying to other people. And then so I

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Speaker 1: would say, just like every kind of point I would

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Speaker 1: get to in my career, I would just stay present

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Speaker 1: in that so if I was the PA. That's why

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Speaker 1: some people now just know me as a producer and

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Speaker 1: some people just know me as an editor, because I

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Speaker 1: would never be around you and be like, well, I'm

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Speaker 1: a director if you hired me to produce for you,

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Speaker 1: and vice versa. So so I think every step I

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Speaker 1: got to felt like, you know, a victory for me

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Speaker 1: at that moment. You know.

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Speaker 2: Yeah, now you know, we're in this space nowadays where

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Speaker 2: you know, everybody kind of wants to just start off

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Speaker 2: at the top. I remember one unique situation where I

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Speaker 2: was VP at a very large company, and you know,

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Speaker 2: it always kind of would try to mentor the interns.

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Speaker 2: And I had this one kid I'll never forget. He

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Speaker 2: came to me. You know, at the end of the internship,

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Speaker 2: kind of the goal is to get an entry level job, right,

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Speaker 2: And so I remember I would talk to this kid

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Speaker 2: and he came to me one day and said I

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Speaker 2: asked him, I said, you know, you're almost at the

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Speaker 2: end of your internship. Have you started applying for like jobs,

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Speaker 2: like what's kind of your next thing? And he said, yeah,

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Speaker 2: I've been applying for jobs, but I already know the

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Speaker 2: job I want, And I said, oh, cool, show me

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Speaker 2: what you're applying for. And he was applying for a

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Speaker 2: job that was higher than I was in the company.

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Speaker 2: And I kind of asked him, I said, you know

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Speaker 2: that doesn't make any sense, right, Like you're an intern

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Speaker 2: and now you're applying to be like a senior SVP, right,

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Speaker 2: And I asked him, I said, what makes you think

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Speaker 2: that you're qualified to go from intern to SVP? And

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Speaker 2: he looked at me dead in my face and said,

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Speaker 2: my mama told me I could be whatever I want

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Speaker 2: to be when I grow up. And I said, and

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Speaker 2: you know what she did, but your mama also should

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Speaker 2: have told you got to take some of the steps.

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Speaker 2: And so the reason why I say that is kind

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Speaker 2: of asked, like, what were some of the things you

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Speaker 2: really learned during your internship process? You know that that

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Speaker 2: kind of time because everybody kind of has the So

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Speaker 2: I don't like calling it paying dues. I just kind

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Speaker 2: of like on it getting experience, Like what are some

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Speaker 2: key lessons that you learned being an intern kind of

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Speaker 2: in the business that kind of helped you as you

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Speaker 2: grew in the business.

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Speaker 1: Yeah, And I would say also even before then, a

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Speaker 1: lot of stuff I learned came from being athlete, as

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Speaker 1: to run track and play softball. So a lot of it,

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Speaker 1: like the endurance and like kind of self reliance comes

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Speaker 1: from sports because you kind of like are just running

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Speaker 1: against yourself. Especially on track, You're like when you're running,

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Speaker 1: you're beating your own time, so you realize this is

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Speaker 1: really my own thing against myself. So that kind of

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Speaker 1: mindset will go throughout my internships and stuff. So even

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Speaker 1: if it's like I'm on the internship, I wouldn't be

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Speaker 1: the first person that's trying to be in somebody's face,

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Speaker 1: the person that's over us, because I feel like that

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Speaker 1: person who will see me if I just kind of

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Speaker 1: keep doing my own thing, and so on internships, I

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Speaker 1: would just try to stay present, whether it's just like

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Speaker 1: I need you to fold some papers, I'm gonna get

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Speaker 1: the best paperfolder I can be, you know, and just

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Speaker 1: try to like learn that one skill set because I

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Speaker 1: always felt like, well, my goal is this bigger one,

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Speaker 1: but I needed a master all like the little steps.

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Speaker 1: And then I also was super shy, so it helped

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Speaker 1: them land to me if they felt like, oh, well,

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Speaker 1: she's just really loyal, She's going to be there. So

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Speaker 1: I would just think on people seeing that I was

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Speaker 1: loyal so I could stick around, and I was a

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Speaker 1: hard worker. So I would say the internships I learned

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Speaker 1: like a number of things. The biggest one would be

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Speaker 1: how to keep things confidential, because like, there are so

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Speaker 1: many projects that passed my plate every day. Most of

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Speaker 1: the time I don't sign NDA's at all, but it's

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Speaker 1: just like it's just a given that you should not

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Speaker 1: you know, say anything about the project. Or sometimes you

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Speaker 1: may work on project for like three months and it

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Speaker 1: just didn't come out. That's happened with like the Apple

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Speaker 1: iPhone tens and those came out. We had done this

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Speaker 1: big commercial spot, it never came out, you know. So

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Speaker 1: that's probably the biggest thing I learned from internships. And

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Speaker 1: also you kind of it's like having siblings. You see

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Speaker 1: what worked and what didn't work for somebody else. So

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Speaker 1: sometimes I'd be like, I don't do that, you.

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Speaker 3: Know, I know very much of seeing it first.

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Speaker 2: I always say, like internship, again, it's just opportunities to

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Speaker 2: get the experience with a little less risk. Yes, you know,

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Speaker 2: once you start kind of getting in there and you

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Speaker 2: got a you know, full time job and other obligations,

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Speaker 2: your risk level, you know, kind of goes up, and

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Speaker 2: the wrong mistake, not just one mistake, but you know,

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Speaker 2: the wrong mistake could impact you. But like as an

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Speaker 2: intern you can kind of act, you know, say, I

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Speaker 2: don't know, I'm just trying to learn, right, So it

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Speaker 2: gives you an opportunity to kind of and bump your

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Speaker 2: head a little bit without you know, as much a

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Speaker 2: risk at the end of the day, you know what I.

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Speaker 1: Mean, right, absolutely? And then also I was in college

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Speaker 1: at the same time I was doing internships, so I

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Speaker 1: was still like teaching th students at the Digital Gram.

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Speaker 1: So by the time I graduated, I didn't go from

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Speaker 1: a production assistant to PM to production coordinator. I don't know,

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Speaker 1: I just want a production assistant to director. At this point,

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Speaker 1: I already knew all the things. So the internships taught

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Speaker 1: me and like, oh I am on the same level.

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Speaker 1: Is this my person in this area, and this was

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Speaker 1: what I need to work on. So I would just

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Speaker 1: kind of learn on the internships and then go home

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Speaker 1: and finish learning the other part of what I needed

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Speaker 1: to learn from them.

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Speaker 2: Okay, And and just for the again for the uninitiated

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Speaker 2: for a second, like how would you define the difference

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Speaker 2: between a producer and a director, like what does a

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Speaker 2: producer do versus what does a director do?

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Speaker 1: Yes, my favorite analogy that I came up with it

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Speaker 1: with is a director and a producer are like a

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Speaker 1: bride and the wedding planner. So the director is the bride,

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Speaker 1: so she knows her vision. I know, I want to

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Speaker 1: have a rustic wedding. I want my colors to be

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Speaker 1: let's try blue and pink, and I want it to

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Speaker 1: even feel like a ranch style, like whatever the hell

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Speaker 1: she comes with it right, And the producer slash wedding

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Speaker 1: planner is the person that knows all these vendors to

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Speaker 1: pull off that director's vision. So it's like, okay, I know,

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Speaker 1: like the venue that will fit your vision. So those

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Speaker 1: are the two differences for the most part. Now, when

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Speaker 1: it comes to like TV and film, producers sometimes are

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Speaker 1: the ones that you know are financing the project, they're

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Speaker 1: bringing on like bigger investors, they're bringing on different crews,

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Speaker 1: so it just it just depends. But for the most part,

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Speaker 1: is the bride and the wedding planner.

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Speaker 2: And what do you think the hardest part about being

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Speaker 2: a producer is versus on the other side as a director.

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Speaker 1: Producing well for me as and I think it's because

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Speaker 1: I was I've always been a director, so I've always

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Speaker 1: been a little bit. Like I described myself like this,

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Speaker 1: like producing is like being on espresso. Directing is like

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Speaker 1: being on CBD.

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Speaker 3: So it's just I get the reference.

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Speaker 1: Yes, so you got my CBD self and you want

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Speaker 1: me to be like that thought, I'm like, hold on,

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Speaker 1: let's just let's just talk, let's just think about it.

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Speaker 1: So it's really more of a mindset thing. Are the differences.

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Speaker 1: And I love amazing producers. Being one for a little

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Speaker 1: bit helped me to really love them even more. But

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Speaker 1: I just did not like it myself. Now, did you

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Speaker 1: ask me that question? What was the question you asked?

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Speaker 2: No, it's kind of what's like, what is the biggest challenge,

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Speaker 2: like as a producer versus director, Like, what's the biggest

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Speaker 2: challenge of being a producer versus on the side.

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Speaker 1: The biggest challenge for both roles actually is just hard conversations.

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Speaker 1: You just are having a different type the producers having

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Speaker 1: conversations with multiple teams, multiple people, usually about like money

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Speaker 1: and logistics, which is tough in itself. Directors hard things

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Speaker 1: is putting your ego aside for projects that are not yours.

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Speaker 1: Like even if it's an artist or a commercial, it's

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Speaker 1: not my project, it's not my story. It's ultimately their story.

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Speaker 1: I'm just the vessel. So it's putting the ego aside

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Speaker 1: for that and also just like communicating, because a lot

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Speaker 1: of directing it's like the technical part, but even more

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Speaker 1: is the people part. So like if I see an

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Speaker 1: artist is tapping out, then I'm going to cut some

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Speaker 1: scenes before they have to show me that they're tired,

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Speaker 1: or the person in front of the comedy is to

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Speaker 1: trust me, or the client needs to trust as well,

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Speaker 1: or sometimes well, all the time, I get men's playing

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Speaker 1: a woman's playing on set, but I also recognize that

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Speaker 1: a lot of that is just ego. People want to

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Speaker 1: show me that they're the best, so I get that

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Speaker 1: out the way up front and I'll tell them I

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Speaker 1: think you're amazing at whatever. So a lot of it

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Speaker 1: is just like the mental part of the two of directing.

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Speaker 1: So you know, it's just a lot of things put together.

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Speaker 2: Well, let me ask kind of going back on the

427
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Speaker 2: man's planning and women's planning stuff. I'm sure as a

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Speaker 2: as a black woman producer and director, You've probably dealt

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Speaker 2: with a number of unique challenges, right, It's probably ranged

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Speaker 2: everywhere from just getting people on the same page to

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Speaker 2: getting funding or distribution. Like what are some of those

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Speaker 2: obstacles and how do you overcome the More importantly, like

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Speaker 2: what's some advice that you would have for other people

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Speaker 2: to kind of overcome similar obstacles.

435
00:19:28,280 --> 00:19:31,600
Speaker 1: Yes, it happens all the time. And I think that

436
00:19:31,680 --> 00:19:35,159
Speaker 1: it's not even just the woman thing and black women thing.

437
00:19:35,160 --> 00:19:38,200
Speaker 1: It's also a temperament thing. I think people want directors

438
00:19:38,240 --> 00:19:41,440
Speaker 1: to be allowed and boastful, but that's just not who

439
00:19:41,440 --> 00:19:43,399
Speaker 1: I am at my core. And I also notice, like

440
00:19:43,440 --> 00:19:45,720
Speaker 1: when I try to change myself and my style and

441
00:19:46,160 --> 00:19:48,760
Speaker 1: I'm not thinking as creatively and as a director and

442
00:19:48,880 --> 00:19:51,520
Speaker 1: artists is I have to stay in my raw state,

443
00:19:52,160 --> 00:19:54,440
Speaker 1: no matter what that is, whether it's where I tell

444
00:19:54,480 --> 00:19:58,359
Speaker 1: them the complete truth in uncomfortable situations. But with that

445
00:19:58,640 --> 00:20:01,920
Speaker 1: is that people just if I'm not loud, which I'm

446
00:20:01,960 --> 00:20:04,920
Speaker 1: never people will just kind of like let their ego

447
00:20:04,960 --> 00:20:08,080
Speaker 1: step in. So I'll get man explaining about like one

448
00:20:08,119 --> 00:20:10,480
Speaker 1: producer was telling me what a tech scout was. A

449
00:20:10,480 --> 00:20:13,080
Speaker 1: text scout is like the most basic thing, you know,

450
00:20:13,240 --> 00:20:15,840
Speaker 1: in production, and this just happened like two months ago.

451
00:20:15,920 --> 00:20:18,840
Speaker 1: I was like, oh, that's what it is. Thanks got it,

452
00:20:18,920 --> 00:20:23,000
Speaker 1: you know. So it happens all day, you know, and

453
00:20:23,080 --> 00:20:26,200
Speaker 1: you just decide which ills you can just like left,

454
00:20:26,240 --> 00:20:28,199
Speaker 1: I feel like it feels like Nats. It feels like this,

455
00:20:28,920 --> 00:20:31,120
Speaker 1: you know, even down to if I say I want

456
00:20:31,119 --> 00:20:34,360
Speaker 1: that wall to be purple, well we can do magenta,

457
00:20:34,480 --> 00:20:36,280
Speaker 1: can do this? Is this? No, No, here's purple and

458
00:20:36,280 --> 00:20:38,919
Speaker 1: here's a pantel. So even like me saying things direct

459
00:20:38,920 --> 00:20:41,280
Speaker 1: like that is odd for people. I noticed. I think

460
00:20:41,280 --> 00:20:43,719
Speaker 1: people are just used to like this kind of like

461
00:20:43,880 --> 00:20:47,720
Speaker 1: trauma type directing. Then you just being kind. So I

462
00:20:47,720 --> 00:20:50,680
Speaker 1: think that's been people have been getting used to that.

463
00:20:50,880 --> 00:20:53,040
Speaker 1: But if they don't, I don't care. I'm the director

464
00:20:53,080 --> 00:20:54,879
Speaker 1: either way. So I just kind of just but it

465
00:20:54,920 --> 00:20:57,720
Speaker 1: feels like Nats. The man's splaining and when I'm saying it,

466
00:20:57,760 --> 00:21:00,480
Speaker 1: that feels like this, you know, just like on set,

467
00:21:00,520 --> 00:21:03,720
Speaker 1: and it happens most sets, it happens, you know, so

468
00:21:03,800 --> 00:21:05,960
Speaker 1: I just kind of you just unfortunately, you have to

469
00:21:05,960 --> 00:21:08,400
Speaker 1: get used to it. And but that's why it's important,

470
00:21:08,600 --> 00:21:12,640
Speaker 1: like to know your stuff, to always study. I'm always studying, learning,

471
00:21:12,800 --> 00:21:15,919
Speaker 1: being vulnerable, figuring out what I can do better, figured

472
00:21:15,960 --> 00:21:18,360
Speaker 1: out what went great, and then also so many other

473
00:21:18,400 --> 00:21:20,320
Speaker 1: people on set that are watching me, so I have

474
00:21:20,440 --> 00:21:22,560
Speaker 1: to just like cuss people out under my breath and

475
00:21:22,600 --> 00:21:26,159
Speaker 1: then have a direct conversation, and then also manage the

476
00:21:26,160 --> 00:21:29,040
Speaker 1: times when I do call someone out one set, you know,

477
00:21:29,119 --> 00:21:32,640
Speaker 1: like one time I had an ad introduce everybody else

478
00:21:33,200 --> 00:21:36,520
Speaker 1: assistant director, director, director, this person, this person Maya, and

479
00:21:36,560 --> 00:21:39,480
Speaker 1: I was like my and I had said, Maya, who,

480
00:21:39,640 --> 00:21:41,040
Speaker 1: And so I have to check them in front of

481
00:21:41,200 --> 00:21:44,879
Speaker 1: other people because it's a few other people of color

482
00:21:44,920 --> 00:21:46,920
Speaker 1: around and women who need to know that you can

483
00:21:46,960 --> 00:21:49,600
Speaker 1: speak up, It's okay to speak up. So and it

484
00:21:49,720 --> 00:21:52,840
Speaker 1: also just I prayed so hard for these opportunities, and

485
00:21:52,880 --> 00:21:55,560
Speaker 1: so usually when I'm on set, I'm like praying so hard.

486
00:21:55,680 --> 00:21:59,080
Speaker 1: Lord take over just increases I decrease. So it's usually

487
00:21:59,119 --> 00:22:01,440
Speaker 1: the conversation is from here to hear. So those little

488
00:22:01,480 --> 00:22:03,560
Speaker 1: nets I'm like, me getting out of the zone to

489
00:22:03,680 --> 00:22:05,760
Speaker 1: talk to you and be negative is taking me out

490
00:22:05,840 --> 00:22:08,760
Speaker 1: from this relationship here, and that is like the most

491
00:22:08,760 --> 00:22:10,840
Speaker 1: important to me. So usually it is that's why it

492
00:22:10,840 --> 00:22:13,480
Speaker 1: feels like, Okay, I know what it takes God is

493
00:22:13,480 --> 00:22:15,680
Speaker 1: and what happened, Okay, got it? Okay, you can almost

494
00:22:15,760 --> 00:22:17,680
Speaker 1: predict what people are gonna have they're going to act

495
00:22:17,720 --> 00:22:18,119
Speaker 1: towards me.

496
00:22:18,200 --> 00:22:22,000
Speaker 2: But you know any who, Yeah, I mean, look, I've

497
00:22:22,040 --> 00:22:23,800
Speaker 2: been on a number of sets. I've worked in the

498
00:22:23,800 --> 00:22:26,479
Speaker 2: creative space for a while. It's always interesting, you know

499
00:22:26,520 --> 00:22:28,800
Speaker 2: how many people kind of grew up and like really,

500
00:22:28,840 --> 00:22:30,159
Speaker 2: when I say grew up, kind grew up in the

501
00:22:30,160 --> 00:22:32,600
Speaker 2: industry in like very toxic environments. What I kind of

502
00:22:32,600 --> 00:22:34,600
Speaker 2: tell people all the time is there's a lot of

503
00:22:34,600 --> 00:22:38,760
Speaker 2: folks in the creative industry like PTSD, and it takes

504
00:22:38,840 --> 00:22:40,639
Speaker 2: a lot of times they need to be around a

505
00:22:40,640 --> 00:22:43,800
Speaker 2: few situations or examples with people that you know, don't

506
00:22:43,880 --> 00:22:45,880
Speaker 2: lead that way to kind of start to revert back

507
00:22:45,880 --> 00:22:48,919
Speaker 2: to themselves because they really came up in such a

508
00:22:49,080 --> 00:22:51,480
Speaker 2: you know, a crazy space, whether it was an advertising

509
00:22:51,600 --> 00:22:53,800
Speaker 2: or creative and they had people yelling at them that

510
00:22:54,000 --> 00:22:55,840
Speaker 2: they thought that was the way they had to operate.

511
00:22:56,880 --> 00:22:58,600
Speaker 2: But then it takes a while from to understand like, no,

512
00:22:58,680 --> 00:23:00,440
Speaker 2: that's actually not what's this necessary?

513
00:23:00,480 --> 00:23:01,000
Speaker 3: Even less?

514
00:23:01,040 --> 00:23:02,720
Speaker 2: Now, like this is a mad man no more, y'all,

515
00:23:02,800 --> 00:23:05,439
Speaker 2: Like you can bring your real self to work and

516
00:23:05,520 --> 00:23:08,240
Speaker 2: work with people and be respectful, right, Like, you don't

517
00:23:08,280 --> 00:23:09,760
Speaker 2: have to yell at people to get things done. I

518
00:23:09,760 --> 00:23:11,320
Speaker 2: don't even think that helps get things done.

519
00:23:11,960 --> 00:23:14,280
Speaker 1: It doesn't help. It doesn't help. I find that everyone

520
00:23:14,359 --> 00:23:16,600
Speaker 1: needs to feel their best, whether it's my PA's or

521
00:23:16,600 --> 00:23:19,080
Speaker 1: my acs. And I'm more of a one on one

522
00:23:19,240 --> 00:23:22,480
Speaker 1: conversation type director, and I find that that helps the best.

523
00:23:22,480 --> 00:23:25,399
Speaker 1: It helps me feel less nervous sembling into me like

524
00:23:25,480 --> 00:23:27,480
Speaker 1: and if you have to yell, you just have to.

525
00:23:27,520 --> 00:23:29,760
Speaker 1: I think it does take an adjustment when people work

526
00:23:29,800 --> 00:23:32,040
Speaker 1: with me to say, oh, I can just like talk

527
00:23:32,080 --> 00:23:33,960
Speaker 1: in this tone and talk to her and get sub

528
00:23:34,000 --> 00:23:35,560
Speaker 1: done and we can actually have a good time and

529
00:23:35,680 --> 00:23:38,200
Speaker 1: also work at the same time. So it's an adjustment.

530
00:23:38,440 --> 00:23:41,080
Speaker 1: It's interesting seeing people do it. I'm like, hmm, you

531
00:23:41,240 --> 00:23:42,520
Speaker 1: talk to the hell y'all.

532
00:23:56,320 --> 00:23:58,960
Speaker 2: Our larger budget projects, you know, are those bills get

533
00:23:59,000 --> 00:24:01,639
Speaker 2: more stressful? Like, Like, what's like the difference between a

534
00:24:01,680 --> 00:24:03,920
Speaker 2: large what is a large budget? Maybe that's a better question.

535
00:24:04,320 --> 00:24:06,080
Speaker 2: Even when it comes to pros, it's considered to be

536
00:24:06,080 --> 00:24:10,000
Speaker 2: a large budget for like a TV commercial or a

537
00:24:10,080 --> 00:24:11,080
Speaker 2: video shoot.

538
00:24:11,640 --> 00:24:14,040
Speaker 1: Large budget it would be a million and up. I

539
00:24:14,640 --> 00:24:18,439
Speaker 1: got my cherry popped on that one this year. But

540
00:24:18,480 --> 00:24:21,360
Speaker 1: for the most part, TV commercials are like between two

541
00:24:21,480 --> 00:24:27,320
Speaker 1: hundred thousand five hundred thousand. Music videos are between fifty

542
00:24:27,960 --> 00:24:30,600
Speaker 1: fifty thousand and three hundred thousand, depending on the artists,

543
00:24:30,800 --> 00:24:33,919
Speaker 1: and sometimes they're twenty if it's just like you know,

544
00:24:34,200 --> 00:24:36,280
Speaker 1: just a newer artist. So it just really depends on

545
00:24:36,320 --> 00:24:40,480
Speaker 1: the artists. But with all the jobs, so music videos

546
00:24:40,640 --> 00:24:44,320
Speaker 1: move a lot faster than commercials. Commercials move fast. Music

547
00:24:44,359 --> 00:24:47,439
Speaker 1: videos move at the speed of light, and so with

548
00:24:47,480 --> 00:24:49,880
Speaker 1: that you just have to you know, work on being

549
00:24:49,960 --> 00:24:52,640
Speaker 1: sharp and also know which crew to call that can

550
00:24:52,680 --> 00:24:57,040
Speaker 1: back you up. For commercials, it's about maybe two weeks

551
00:24:57,040 --> 00:24:59,840
Speaker 1: of planning after they are worth the job. But it's

552
00:24:59,880 --> 00:25:02,600
Speaker 1: just more communication. So I'm putting together a whole deck

553
00:25:02,640 --> 00:25:04,600
Speaker 1: for the art team, and then another whole deck for

554
00:25:04,640 --> 00:25:06,840
Speaker 1: the wardrobe team, and then a whole another deck to

555
00:25:06,920 --> 00:25:09,720
Speaker 1: talk through lighting. So you're just talking a lot more.

556
00:25:09,800 --> 00:25:13,119
Speaker 1: So your schedule is usually leading up to commercial shoot.

557
00:25:13,400 --> 00:25:15,359
Speaker 1: My schedule is open because my producer is going to

558
00:25:15,440 --> 00:25:17,760
Speaker 1: pack it up with like meetings to talk through every

559
00:25:17,800 --> 00:25:21,000
Speaker 1: single detail, like every little thing from like we had

560
00:25:21,000 --> 00:25:23,120
Speaker 1: a bear on set for that. Anderson shoot, let's talk

561
00:25:23,119 --> 00:25:25,440
Speaker 1: to the bear ringler. Okay, well I want some butterflies.

562
00:25:25,520 --> 00:25:27,679
Speaker 1: Let's talk this, Let's talk to the VFX team. So

563
00:25:27,720 --> 00:25:29,879
Speaker 1: you're just having like a number of conversations over and

564
00:25:29,960 --> 00:25:31,800
Speaker 1: over again. So you just have to get used to

565
00:25:31,840 --> 00:25:36,199
Speaker 1: communicating over and over, used to visual communicating, used to

566
00:25:36,240 --> 00:25:40,400
Speaker 1: be in patiently communicating and knowing that it's the group project.

567
00:25:40,600 --> 00:25:43,800
Speaker 1: Commercials are more group projects. Music videos are more like

568
00:25:44,040 --> 00:25:46,760
Speaker 1: vibes and just seeing you and the artists doing your

569
00:25:46,800 --> 00:25:48,680
Speaker 1: thing now in that.

570
00:25:48,800 --> 00:25:51,720
Speaker 2: Now, how does storytelling plan to all that? So, for example,

571
00:25:51,920 --> 00:25:54,320
Speaker 2: you know whizkly to hit you up. He sends you

572
00:25:54,359 --> 00:25:57,639
Speaker 2: a song and ask you about directing his video. But

573
00:25:57,680 --> 00:25:59,560
Speaker 2: then you've got to figure out, like what story you're

574
00:25:59,600 --> 00:26:01,600
Speaker 2: kind of can comunicating. I know, the song might be

575
00:26:01,640 --> 00:26:03,360
Speaker 2: helpful because you kind of have lyrics to go off

576
00:26:03,359 --> 00:26:07,120
Speaker 2: of versus a commercial. But again, how does storytelling get

577
00:26:07,200 --> 00:26:10,520
Speaker 2: involved in the creation of these different types of projects?

578
00:26:11,240 --> 00:26:13,960
Speaker 1: Yeah, and usually that's what people need directors for because

579
00:26:14,000 --> 00:26:16,679
Speaker 1: you can have a video this that straight performance space.

580
00:26:17,160 --> 00:26:19,879
Speaker 1: But if you more are more story director, then you

581
00:26:19,920 --> 00:26:22,280
Speaker 1: can insert little stories in there. And so I try

582
00:26:22,320 --> 00:26:25,320
Speaker 1: to do that when I can. I have like little storylines,

583
00:26:26,000 --> 00:26:28,560
Speaker 1: and so this just truly the director's call. Sometimes the

584
00:26:28,640 --> 00:26:31,080
Speaker 1: artists think of it, but usually director's call. And then

585
00:26:31,200 --> 00:26:35,000
Speaker 1: in the creative commercial space, usually it's the creative director

586
00:26:35,080 --> 00:26:38,880
Speaker 1: that came up with the whole idea. Like the Anderson

587
00:26:38,960 --> 00:26:41,680
Speaker 1: pod video that was a rare one where they said, well, maya,

588
00:26:41,800 --> 00:26:44,639
Speaker 1: let's see what idea you have. But normally the creative

589
00:26:44,680 --> 00:26:47,399
Speaker 1: director comes with the idea. But it then they hire

590
00:26:47,480 --> 00:26:49,960
Speaker 1: the director to bring that vision to life. So they

591
00:26:50,040 --> 00:26:52,560
Speaker 1: even have like from the storyboards done. So I look

592
00:26:52,600 --> 00:26:55,200
Speaker 1: at their boards and say, okay, like what's the backstory?

593
00:26:55,280 --> 00:26:56,879
Speaker 1: So they'll tell me the backstory of the people, and

594
00:26:56,920 --> 00:26:59,119
Speaker 1: so it's up to me, like to make sure that

595
00:26:59,160 --> 00:27:01,919
Speaker 1: the audience understan it's what that back three was. And

596
00:27:02,000 --> 00:27:04,840
Speaker 1: so usual it is down to like, oh, excuse the mom,

597
00:27:05,359 --> 00:27:07,120
Speaker 1: let's put a car seat in the back. So that's

598
00:27:07,119 --> 00:27:08,960
Speaker 1: something that the director comes up with, just like the

599
00:27:09,080 --> 00:27:12,400
Speaker 1: little visual cues so that we understand in thirty seconds

600
00:27:12,560 --> 00:27:13,840
Speaker 1: the emotion and what's going on.

601
00:27:14,200 --> 00:27:16,719
Speaker 2: Okay, So so then what are the visual cues. Look,

602
00:27:16,760 --> 00:27:18,920
Speaker 2: I saw the Anderson pop commercial and I mean they

603
00:27:18,960 --> 00:27:23,000
Speaker 2: got guitars or eyes on them, and like you said, well, yeah,

604
00:27:23,040 --> 00:27:25,720
Speaker 2: it was cute, but how does that come to life? Like,

605
00:27:25,760 --> 00:27:27,840
Speaker 2: how does that how does that story manifest itself?

606
00:27:29,080 --> 00:27:32,040
Speaker 1: So when that came about the brand and the creative

607
00:27:32,040 --> 00:27:35,200
Speaker 1: director at the agency was Carlo, and Carlo was just like, well,

608
00:27:35,240 --> 00:27:37,600
Speaker 1: we decided we want to do I decided we want

609
00:27:37,640 --> 00:27:39,719
Speaker 1: to do a music video. Eye is in him and

610
00:27:39,800 --> 00:27:41,880
Speaker 1: so he was like, well, just do whatever you want

611
00:27:41,920 --> 00:27:45,119
Speaker 1: to do. The thing is that this car is we

612
00:27:45,160 --> 00:27:47,280
Speaker 1: wanted to see it in nature and I also sold

613
00:27:47,320 --> 00:27:49,880
Speaker 1: out until twenty twenty five, so we don't need help

614
00:27:49,960 --> 00:27:51,960
Speaker 1: selling the car. We just want to do something cool.

615
00:27:52,000 --> 00:27:54,520
Speaker 1: And I was like, Okay, let me think about it.

616
00:27:54,560 --> 00:27:56,920
Speaker 1: And so usually I'll think about the artists and I'll

617
00:27:56,960 --> 00:27:59,800
Speaker 1: watch every single video they've ever done, even if it's

618
00:27:59,840 --> 00:28:02,159
Speaker 1: our is that I love like Anderson Park. I am

619
00:28:02,160 --> 00:28:04,439
Speaker 1: a fan fan. But even with that, I still just

620
00:28:04,520 --> 00:28:06,520
Speaker 1: like look at his Instagram with the stuff he's in

621
00:28:06,600 --> 00:28:09,000
Speaker 1: the past, just to make sure I'm not doing something

622
00:28:09,000 --> 00:28:11,440
Speaker 1: that he already did, and then I'll just like let

623
00:28:11,480 --> 00:28:14,960
Speaker 1: myself daydream about it. And Anderson is really cool because

624
00:28:15,040 --> 00:28:17,399
Speaker 1: he's an artist, but he also gets a little weird.

625
00:28:17,480 --> 00:28:19,359
Speaker 1: It's a little sexy, so you can just it's a

626
00:28:19,480 --> 00:28:21,960
Speaker 1: number of things that you can do with him. So

627
00:28:22,400 --> 00:28:25,479
Speaker 1: when I thought about the instruments, I was like, what

628
00:28:25,560 --> 00:28:27,919
Speaker 1: if he's like and we also had to incorporate the

629
00:28:27,960 --> 00:28:29,359
Speaker 1: car a little bit. So I was like, what if

630
00:28:29,400 --> 00:28:32,200
Speaker 1: he's leaving his house and then but he's leaving behind

631
00:28:32,240 --> 00:28:35,120
Speaker 1: his old equipment and he's only taking his newer stuff,

632
00:28:35,200 --> 00:28:37,800
Speaker 1: so they can take this journey into the forest and

633
00:28:37,880 --> 00:28:41,360
Speaker 1: all these things can happen. So the a lot of

634
00:28:41,400 --> 00:28:44,680
Speaker 1: times where sometimes you'll have a chance to like insert yourself,

635
00:28:44,960 --> 00:28:46,840
Speaker 1: and I try to do that as an artist. So

636
00:28:46,840 --> 00:28:48,480
Speaker 1: the eyeball things are just my thing. I thought it

637
00:28:48,480 --> 00:28:50,840
Speaker 1: would be cute. I'm like, what if the instruments were

638
00:28:50,840 --> 00:28:54,760
Speaker 1: like sad? You know? So I think so the directors.

639
00:28:54,840 --> 00:28:56,760
Speaker 1: That's the thing in the commercial space is how can

640
00:28:56,800 --> 00:28:59,960
Speaker 1: you put your little sprinkles in there around like the creator.

641
00:29:00,200 --> 00:29:02,920
Speaker 1: So usually mine or I'm trying to do more of

642
00:29:03,000 --> 00:29:05,040
Speaker 1: than certing of myself. Usually it just be like if

643
00:29:05,040 --> 00:29:06,680
Speaker 1: it's a person of color and it's cool, you know,

644
00:29:06,720 --> 00:29:08,360
Speaker 1: it's my op and now it's like, no, I can

645
00:29:08,440 --> 00:29:11,720
Speaker 1: lean into my little weird part. And so the eyeballs

646
00:29:11,800 --> 00:29:12,320
Speaker 1: was that for me.

647
00:29:12,760 --> 00:29:15,040
Speaker 2: Now see that's interesting, not just because of that, but

648
00:29:15,080 --> 00:29:17,800
Speaker 2: because it also makes me think about, you know, how

649
00:29:17,800 --> 00:29:21,000
Speaker 2: people can potentially be using AI and stuff very soon

650
00:29:21,080 --> 00:29:23,440
Speaker 2: in the videos, right, And so I mean, you know

651
00:29:23,560 --> 00:29:26,160
Speaker 2: the under Armor video that came out that was completely

652
00:29:26,200 --> 00:29:27,960
Speaker 2: AI generated. I don't know if you saw, but I

653
00:29:28,000 --> 00:29:31,520
Speaker 2: think Motorola Rasor just dropped the video that was completely

654
00:29:31,520 --> 00:29:33,360
Speaker 2: AI generated, And you know, people have a lot of

655
00:29:33,360 --> 00:29:36,240
Speaker 2: feelings about that, especially on the filmmaking side. You know,

656
00:29:36,280 --> 00:29:38,120
Speaker 2: what are your feelings on kind of the impact of

657
00:29:38,160 --> 00:29:40,360
Speaker 2: AI video and is it a good thing? Is it

658
00:29:40,400 --> 00:29:42,720
Speaker 2: a bad thing for the industry? Like what's your thoughts

659
00:29:42,760 --> 00:29:44,720
Speaker 2: on AI when it comes to the kind.

660
00:29:44,560 --> 00:29:45,240
Speaker 3: Of work that you do.

661
00:29:46,520 --> 00:29:50,400
Speaker 1: Yeah, and my friend Wes Walker did the under Armor

662
00:29:50,400 --> 00:29:53,000
Speaker 1: commercial that had people up in arms, but I thought

663
00:29:53,040 --> 00:29:56,400
Speaker 1: it was beautiful. The thing is that AI stuff has

664
00:29:56,400 --> 00:29:59,680
Speaker 1: been around forever for years, and you saw a Jurassic

665
00:29:59,680 --> 00:30:02,200
Speaker 1: part and you know, jobs and all that stuff. So

666
00:30:02,280 --> 00:30:05,040
Speaker 1: I think now it's more consumer friendly, so people feel

667
00:30:05,120 --> 00:30:07,640
Speaker 1: more frightened by it. But it's always been around and

668
00:30:07,680 --> 00:30:09,840
Speaker 1: I think that as filmmakers we just have to keep

669
00:30:09,880 --> 00:30:12,200
Speaker 1: adjusting to it. I don't think that it's going anywhere,

670
00:30:12,400 --> 00:30:15,360
Speaker 1: but I also think that like nothing can be the

671
00:30:15,440 --> 00:30:19,280
Speaker 1: human mind, you know, just like you know, we won't

672
00:30:19,280 --> 00:30:20,920
Speaker 1: be at our computer all day because we want to

673
00:30:20,920 --> 00:30:23,240
Speaker 1: go see a concert, we want to see our favorite athletes,

674
00:30:23,280 --> 00:30:25,840
Speaker 1: So those things are still happening, so I think, you know,

675
00:30:25,880 --> 00:30:28,680
Speaker 1: and also with these AI programs, they're only pulling from

676
00:30:29,160 --> 00:30:31,640
Speaker 1: what somebody else already did, so it's never going to

677
00:30:31,640 --> 00:30:35,000
Speaker 1: be complete originals. So I would say it's something that

678
00:30:35,040 --> 00:30:36,959
Speaker 1: we do have to learn into just a little bit,

679
00:30:37,000 --> 00:30:39,440
Speaker 1: but also just keep learning how to pivot because it's

680
00:30:39,440 --> 00:30:41,160
Speaker 1: going to be something new all the time. But I

681
00:30:41,160 --> 00:30:43,440
Speaker 1: don't think there's anything to be afraid of at all.

682
00:30:43,760 --> 00:30:46,400
Speaker 2: Yeah, I was watching this really interesting talk that asking

683
00:30:46,440 --> 00:30:48,360
Speaker 2: Kutcher did he say he was playing around with Sora,

684
00:30:48,520 --> 00:30:51,080
Speaker 2: which is the tool that open AI is building kind

685
00:30:51,080 --> 00:30:53,760
Speaker 2: of internally right now for video production, and he was

686
00:30:53,800 --> 00:30:55,920
Speaker 2: talking about, yeah, I was able to, you know, generate

687
00:30:56,000 --> 00:30:59,600
Speaker 2: this short movie or short video clip of and again

688
00:30:59,600 --> 00:31:02,040
Speaker 2: you can only short stuff right now, but obviously once

689
00:31:02,120 --> 00:31:04,239
Speaker 2: you know, it'll get it'll get better with time. But

690
00:31:04,280 --> 00:31:05,720
Speaker 2: he was saying, you know, I was able to generate

691
00:31:05,760 --> 00:31:09,280
Speaker 2: this this short video clip of a ultra marathon runner

692
00:31:09,360 --> 00:31:11,240
Speaker 2: like running through the desert, and it didn't require me

693
00:31:11,320 --> 00:31:14,400
Speaker 2: to hire a stuntman. No actors, you know, they have

694
00:31:14,440 --> 00:31:15,640
Speaker 2: to go on set. I was able to kind of

695
00:31:15,640 --> 00:31:17,520
Speaker 2: generate this thing and it wasn't perfect, but it was

696
00:31:17,560 --> 00:31:19,640
Speaker 2: good enough. And the thing that he said that was

697
00:31:19,680 --> 00:31:21,200
Speaker 2: really interesting to me was he was like, you know,

698
00:31:21,200 --> 00:31:24,080
Speaker 2: at a certain point, there's going to be more content

699
00:31:24,200 --> 00:31:26,880
Speaker 2: than there is eyeballs to consume it. You know, like,

700
00:31:26,920 --> 00:31:29,479
Speaker 2: why would somebody watch, you know, your movie when they

701
00:31:29,480 --> 00:31:30,400
Speaker 2: can watch their own movie?

702
00:31:30,440 --> 00:31:30,560
Speaker 1: Right?

703
00:31:30,600 --> 00:31:33,200
Speaker 2: Like why would somebody watch Jurassic Park when they can

704
00:31:33,240 --> 00:31:35,920
Speaker 2: make it Jurassic Atlanta Park And all of a sudden,

705
00:31:35,960 --> 00:31:39,280
Speaker 2: the dinosaurs are her own bankhead, right, you.

706
00:31:39,320 --> 00:31:40,280
Speaker 3: Know, But what do you think about that?

707
00:31:40,320 --> 00:31:42,000
Speaker 2: Do you think there'll be a world where, like consumers

708
00:31:42,040 --> 00:31:44,120
Speaker 2: start to get more involved and start creating their own content,

709
00:31:44,240 --> 00:31:47,000
Speaker 2: we'll to get out of control. And again, if so, like,

710
00:31:47,040 --> 00:31:49,440
Speaker 2: how do people that work in your space embrace those

711
00:31:49,480 --> 00:31:51,080
Speaker 2: tools so that they can continue to kind of stay

712
00:31:51,080 --> 00:31:52,160
Speaker 2: relevant in the head of the curve?

713
00:31:53,400 --> 00:31:56,040
Speaker 1: Yeah, I'm always a fan of white learning the rules.

714
00:31:56,160 --> 00:31:58,560
Speaker 1: I can break them, so, like learn every program so

715
00:31:58,600 --> 00:32:00,760
Speaker 1: I can like do my thing and put twist on it.

716
00:32:01,120 --> 00:32:03,840
Speaker 1: But I don't think there's anything to be afraid of.

717
00:32:03,920 --> 00:32:06,479
Speaker 1: I think that you know, people are doing all these

718
00:32:06,520 --> 00:32:09,360
Speaker 1: scare tactics, like remember when the year of two thousand

719
00:32:09,520 --> 00:32:19,080
Speaker 1: was coming, let's get all this water is. So I

720
00:32:19,080 --> 00:32:21,880
Speaker 1: think that it's kind of like the same thing where

721
00:32:22,080 --> 00:32:23,640
Speaker 1: people feel like it's going to be a certain way,

722
00:32:23,640 --> 00:32:27,320
Speaker 1: but more people are not using that than it's. It's

723
00:32:27,360 --> 00:32:29,200
Speaker 1: like even from like the tiktoks and things that are

724
00:32:29,200 --> 00:32:31,360
Speaker 1: still around, and you have people that still use it.

725
00:32:31,640 --> 00:32:33,720
Speaker 1: It's like there's people that still love Snapchat, but it's

726
00:32:33,720 --> 00:32:35,800
Speaker 1: just not something I use every day, or people that

727
00:32:35,920 --> 00:32:38,280
Speaker 1: use uh it's like virtual glasses.

728
00:32:38,800 --> 00:32:40,920
Speaker 3: Vision pros, like the augmented reality stuff.

729
00:32:42,000 --> 00:32:44,120
Speaker 1: I'm not using that more. I know why people that are.

730
00:32:44,240 --> 00:32:45,520
Speaker 1: So I think it's going to be a statement of

731
00:32:45,600 --> 00:32:48,959
Speaker 1: people that are always in those my movies and always

732
00:32:49,320 --> 00:32:50,840
Speaker 1: that type of content. But then you have the people

733
00:32:50,880 --> 00:32:52,880
Speaker 1: that actually want to meet their favorite actor, they want

734
00:32:52,920 --> 00:32:55,360
Speaker 1: to work with their favorite athletes, and so I think

735
00:32:55,400 --> 00:32:56,960
Speaker 1: that it's going to be a world. It's going to

736
00:32:57,040 --> 00:32:59,360
Speaker 1: be two things have to happen at the same time.

737
00:32:59,400 --> 00:33:02,080
Speaker 1: But you know, we're still humans, and humans are still

738
00:33:02,160 --> 00:33:05,960
Speaker 1: the same way forever. You know, we aren't like given

739
00:33:06,000 --> 00:33:08,560
Speaker 1: birth to things that have electricity and it. You know,

740
00:33:08,560 --> 00:33:10,840
Speaker 1: we're still souls and beings in hands. So I don't

741
00:33:10,880 --> 00:33:13,240
Speaker 1: think any of that the real the real build things

742
00:33:13,240 --> 00:33:13,800
Speaker 1: are going away.

743
00:33:13,880 --> 00:33:16,560
Speaker 2: So would you would you ever create a kind of

744
00:33:16,560 --> 00:33:19,960
Speaker 2: a completely AI generated you know, short movie or short

745
00:33:19,960 --> 00:33:22,080
Speaker 2: film or something like that. Like I watched what was

746
00:33:22,080 --> 00:33:25,520
Speaker 2: the one dating app? I think it's called and I

747
00:33:25,520 --> 00:33:27,400
Speaker 2: can't think of the other one The Gentlemen. They were

748
00:33:27,400 --> 00:33:28,800
Speaker 2: playing the music back and forth.

749
00:33:29,840 --> 00:33:31,760
Speaker 1: Yeah, yeah, true story.

750
00:33:31,840 --> 00:33:32,640
Speaker 3: Yeah, would you ever?

751
00:33:32,640 --> 00:33:34,360
Speaker 2: Would you ever actually, you know, make one, even if

752
00:33:34,400 --> 00:33:36,200
Speaker 2: it's just kind of try it out and see how

753
00:33:36,200 --> 00:33:37,120
Speaker 2: the technology works.

754
00:33:38,080 --> 00:33:40,320
Speaker 1: Yeah, yeah, absolutely, never say that. Really, you know, you

755
00:33:40,320 --> 00:33:42,200
Speaker 1: don't know until you try. You might like it, you

756
00:33:42,200 --> 00:33:42,760
Speaker 1: know what I'm saying.

757
00:33:46,640 --> 00:33:48,040
Speaker 3: Give it a shot, right, you don't know until you

758
00:33:48,040 --> 00:33:49,320
Speaker 3: know he shot, you don't know.

759
00:33:49,440 --> 00:33:51,719
Speaker 1: Yeah. And then also, just like you like the people,

760
00:33:51,800 --> 00:33:54,040
Speaker 1: the actors and athletes and people that we love, is

761
00:33:54,080 --> 00:33:56,880
Speaker 1: like they're they're showing their skill set and just like

762
00:33:57,240 --> 00:34:01,120
Speaker 1: every generation like what's the name of that? So all

763
00:34:01,120 --> 00:34:03,400
Speaker 1: the murders in the building, it has Steve Martin and

764
00:34:03,440 --> 00:34:07,160
Speaker 1: Martin Sure. I'm like, oh my god, they are still hilarious.

765
00:34:07,160 --> 00:34:08,759
Speaker 1: And I love watching that show because it's like they're

766
00:34:08,800 --> 00:34:12,239
Speaker 1: still doing their thing in this age at the AGR now.

767
00:34:12,320 --> 00:34:15,120
Speaker 1: So I think it's just as artists, we're just finding

768
00:34:15,120 --> 00:34:17,880
Speaker 1: new ways to like show where we're artists and you know,

769
00:34:18,000 --> 00:34:20,320
Speaker 1: show where we are who we are, you know what.

770
00:34:20,440 --> 00:34:23,400
Speaker 2: All these new technologies and everything is happening. Like, what

771
00:34:23,440 --> 00:34:25,439
Speaker 2: are your thoughts on kind of the value of going

772
00:34:25,480 --> 00:34:27,719
Speaker 2: to film school versus learning on the job. There's a

773
00:34:27,760 --> 00:34:30,440
Speaker 2: lot of people, you know, especially now with YouTube and

774
00:34:30,520 --> 00:34:32,200
Speaker 2: just to get how easy a lot of these different

775
00:34:32,200 --> 00:34:35,000
Speaker 2: tools and applications are to use, a lot of people

776
00:34:35,120 --> 00:34:36,879
Speaker 2: just kind of started up and figuring it out. So

777
00:34:37,360 --> 00:34:38,840
Speaker 2: you know, what do you kind of think about you know,

778
00:34:38,840 --> 00:34:40,399
Speaker 2: what do you think about the value of it still

779
00:34:40,400 --> 00:34:42,560
Speaker 2: going to film school versus just getting started?

780
00:34:42,680 --> 00:34:44,840
Speaker 3: You know what, what's where's the difference? Lie?

781
00:34:45,760 --> 00:34:47,879
Speaker 1: Yeah, I think the difference is just how we learn.

782
00:34:48,320 --> 00:34:49,960
Speaker 1: I always tell people, you don't have to go to

783
00:34:50,000 --> 00:34:53,040
Speaker 1: film school. I went, you know, I think it helped

784
00:34:53,080 --> 00:34:56,000
Speaker 1: me just learn how to work with people, be more

785
00:34:56,120 --> 00:34:58,279
Speaker 1: like outgoing because I was more of an introvert. So

786
00:34:58,680 --> 00:35:00,560
Speaker 1: I think it's just where the value is. You did

787
00:35:00,600 --> 00:35:02,120
Speaker 1: not have to go to school for that. So I

788
00:35:02,160 --> 00:35:05,080
Speaker 1: think I love that it's more accessible. It also helps

789
00:35:05,080 --> 00:35:06,560
Speaker 1: me too, because when I get on sets, I don't

790
00:35:06,600 --> 00:35:08,200
Speaker 1: have to keep hearing here in the first flack women

791
00:35:08,239 --> 00:35:11,920
Speaker 1: I work. But you know, it's just like things, you know,

792
00:35:12,160 --> 00:35:15,640
Speaker 1: So I would love seeing more of us on set,

793
00:35:15,760 --> 00:35:18,239
Speaker 1: not just black women, but just people of color, and

794
00:35:18,320 --> 00:35:20,160
Speaker 1: usually I don't see a lot of us at all.

795
00:35:20,320 --> 00:35:22,840
Speaker 1: So I think making it more accessible helps it. But

796
00:35:22,880 --> 00:35:24,680
Speaker 1: even with that, it's still you still have to learn

797
00:35:24,680 --> 00:35:26,759
Speaker 1: how to work with people. So it's not just the

798
00:35:26,840 --> 00:35:29,120
Speaker 1: skill set, it's like the interpersonal skills, and I think

799
00:35:29,160 --> 00:35:31,239
Speaker 1: that's what college she just but you can still learn

800
00:35:31,320 --> 00:35:32,680
Speaker 1: that outside of school.

801
00:35:33,120 --> 00:35:33,719
Speaker 3: Absolutely.

802
00:35:33,800 --> 00:35:35,920
Speaker 2: So I don't know if you you know, learn how

803
00:35:35,960 --> 00:35:38,560
Speaker 2: to shoot Uncle Poochi in film school, but you know

804
00:35:38,719 --> 00:35:41,200
Speaker 2: you started off and what was that twenty twenty two

805
00:35:41,239 --> 00:35:44,280
Speaker 2: with your with your uncle? You know he's driving the Cadillac,

806
00:35:44,400 --> 00:35:46,440
Speaker 2: he's vegan, Like how did they get started? You know,

807
00:35:46,680 --> 00:35:49,439
Speaker 2: where did Uncle Poochie come from? And you know what's

808
00:35:49,560 --> 00:35:51,399
Speaker 2: what we are? Some great things that have happened since

809
00:35:51,400 --> 00:35:52,359
Speaker 2: you started working with them?

810
00:35:52,640 --> 00:35:55,440
Speaker 1: Oh yeah, pleas Memphis. My whole family, like I said,

811
00:35:55,440 --> 00:35:59,479
Speaker 1: we're from Memphis. So that's my mom's little brother. They're

812
00:36:00,239 --> 00:36:02,840
Speaker 1: just to be your part. And I wanted to document

813
00:36:02,920 --> 00:36:04,680
Speaker 1: him for years, and I always wanted to use a

814
00:36:04,680 --> 00:36:07,200
Speaker 1: film camera or a different camera. And so I had

815
00:36:07,320 --> 00:36:09,600
Speaker 1: one point in my life when I was going from

816
00:36:09,680 --> 00:36:12,600
Speaker 1: like I took off my producing hat all together because

817
00:36:12,600 --> 00:36:15,200
Speaker 1: I only wanted to concentrate on directing. And then with that,

818
00:36:15,320 --> 00:36:16,680
Speaker 1: I was like, well, let me just move back in

819
00:36:16,719 --> 00:36:19,440
Speaker 1: with my parents. I won't say yes to producing jobs.

820
00:36:19,880 --> 00:36:22,440
Speaker 1: And so that was the end of twenty nineteen, and so,

821
00:36:22,600 --> 00:36:24,840
Speaker 1: you know, the very next year was twenty twenty, and

822
00:36:24,920 --> 00:36:26,880
Speaker 1: so he was coming over. He came over with my

823
00:36:26,880 --> 00:36:28,840
Speaker 1: mom's house to pick up his fur coat, and he

824
00:36:28,920 --> 00:36:30,560
Speaker 1: was like this, put out your camera for me. So

825
00:36:30,600 --> 00:36:32,680
Speaker 1: I put out my little cannon camera and filmed them

826
00:36:33,080 --> 00:36:35,160
Speaker 1: and I just put them on Instagram and it went viral,

827
00:36:35,239 --> 00:36:37,360
Speaker 1: and I was like, huh, but I thought that I

828
00:36:37,400 --> 00:36:39,880
Speaker 1: had to have a certain camera, and I realized it

829
00:36:39,960 --> 00:36:42,280
Speaker 1: was just more about like the story and the content

830
00:36:42,320 --> 00:36:45,759
Speaker 1: and just he's so interesting. So and then I also

831
00:36:45,920 --> 00:36:47,920
Speaker 1: just you know, if I hadn't to move home, that

832
00:36:47,960 --> 00:36:50,640
Speaker 1: wouldn't happened. So you know, if it wasn't twenty twenty,

833
00:36:50,680 --> 00:36:52,200
Speaker 1: we wouldn't have been at home. So so many things

834
00:36:52,280 --> 00:36:54,680
Speaker 1: were just perfect about that moment, and I would wonder

835
00:36:54,680 --> 00:36:57,240
Speaker 1: why people loved him so much. I think because people

836
00:36:57,320 --> 00:36:59,719
Speaker 1: said that also showed like my eye. So no matter

837
00:36:59,800 --> 00:37:02,439
Speaker 1: how crazy a person of color is going to look

838
00:37:02,600 --> 00:37:05,920
Speaker 1: in front of my lens and never gonnak that crazy entertaining. Yeah,

839
00:37:06,160 --> 00:37:08,680
Speaker 1: but I'm not ever gonna put anybody in the bad

840
00:37:08,800 --> 00:37:11,239
Speaker 1: light in any way. So I think it just kind

841
00:37:11,280 --> 00:37:14,800
Speaker 1: of showed them my style. And then from that, Vogue

842
00:37:14,800 --> 00:37:16,759
Speaker 1: magazine reached out that year and they're I'm like, well,

843
00:37:16,760 --> 00:37:19,000
Speaker 1: we don't have a piece for Vogue, but we would

844
00:37:19,000 --> 00:37:21,279
Speaker 1: love to direct for Self magazine. And then a lot

845
00:37:21,320 --> 00:37:23,640
Speaker 1: of just jobs just come from just how I document

846
00:37:23,719 --> 00:37:26,160
Speaker 1: my uncle and his son. I just cut out for

847
00:37:26,280 --> 00:37:31,520
Speaker 1: parts where you know, he talking crazy, and I'm just like, like,

848
00:37:31,600 --> 00:37:33,480
Speaker 1: I'm not going to include that, sir, thank you.

849
00:37:33,560 --> 00:37:35,719
Speaker 2: Yeah, you know, the magic is in the edit a

850
00:37:35,760 --> 00:37:38,160
Speaker 2: lot of times, you know what I'm saying, magic to

851
00:37:38,640 --> 00:37:40,040
Speaker 2: make sure I just.

852
00:37:39,960 --> 00:37:41,560
Speaker 1: Let I just let him go and it's cut it.

853
00:37:41,560 --> 00:37:44,080
Speaker 1: I'm like, right there, what's.

854
00:37:43,880 --> 00:37:46,520
Speaker 2: Been one of the biggest, you know, the biggest opportunities

855
00:37:46,560 --> 00:37:48,319
Speaker 2: you know for you and your brand that's happened out

856
00:37:48,360 --> 00:37:50,719
Speaker 2: of that? I know, I think Snoop Dogg reached out

857
00:37:51,000 --> 00:37:52,319
Speaker 2: or kind of shared it, but like, what are some

858
00:37:52,360 --> 00:37:54,760
Speaker 2: other things that have happened. So you started working with uncle.

859
00:37:54,600 --> 00:38:00,880
Speaker 1: Poaching, I would say, yeah, Snoop for shared. Getting signed

860
00:38:00,880 --> 00:38:04,520
Speaker 1: to my commercial agency, I end up like using a

861
00:38:04,520 --> 00:38:08,160
Speaker 1: bunch of my savings and then directing and writing a

862
00:38:08,200 --> 00:38:10,680
Speaker 1: commercial with my uncle Pouchi because brands need to see

863
00:38:10,680 --> 00:38:12,200
Speaker 1: that I could tell a message and a story in

864
00:38:12,239 --> 00:38:15,160
Speaker 1: thirty seconds, so I used him. So I'm like potential

865
00:38:15,200 --> 00:38:17,560
Speaker 1: people love him anyway, and then that's how I would

866
00:38:17,560 --> 00:38:20,440
Speaker 1: get most of my commercial jobs from like Honda and

867
00:38:20,520 --> 00:38:23,200
Speaker 1: for and even ARII different brands. I remember ARII had

868
00:38:23,239 --> 00:38:24,879
Speaker 1: it in their deck once. They were like, we want

869
00:38:24,920 --> 00:38:27,960
Speaker 1: to shoot this like my en Oh that's awesome. And

870
00:38:28,000 --> 00:38:30,160
Speaker 1: so even now that I'm scient to a commercial rep,

871
00:38:30,200 --> 00:38:32,560
Speaker 1: people are always like, we love Grow a Pair. That's

872
00:38:32,560 --> 00:38:34,880
Speaker 1: the name of the commercial I did with him. But

873
00:38:35,120 --> 00:38:37,600
Speaker 1: grow a Pair that was just something I made up

874
00:38:37,719 --> 00:38:40,759
Speaker 1: with Georgia Pairs. I was like, yeah, Georgia Pears paid

875
00:38:40,840 --> 00:38:43,360
Speaker 1: us to do that. So so all these projects and

876
00:38:43,440 --> 00:38:45,680
Speaker 1: then I think it just has been helped me to

877
00:38:45,840 --> 00:38:49,479
Speaker 1: like be content with my voice and how I see

878
00:38:49,520 --> 00:38:52,759
Speaker 1: us and it's been helpful so that people understand how

879
00:38:52,840 --> 00:38:54,400
Speaker 1: I'll make us look on camera.

880
00:38:54,920 --> 00:38:57,000
Speaker 2: You know, it's interesting because I mean with the stuff

881
00:38:57,040 --> 00:38:59,040
Speaker 2: that we do at butter Atl, right, like we create,

882
00:38:59,200 --> 00:39:01,680
Speaker 2: you know, as allays say, content at the speed of culture,

883
00:39:01,800 --> 00:39:04,120
Speaker 2: and so you know, we always look for ways to

884
00:39:04,160 --> 00:39:06,560
Speaker 2: just see and create content that like resonates and lands

885
00:39:06,600 --> 00:39:10,120
Speaker 2: kind of authentically. And as I look back over it,

886
00:39:10,120 --> 00:39:12,160
Speaker 2: it's always kind of been a series of just like

887
00:39:12,200 --> 00:39:14,840
Speaker 2: inflection points, because what I've learned over the years is

888
00:39:15,280 --> 00:39:16,840
Speaker 2: you never know what the thing is going to be.

889
00:39:17,840 --> 00:39:19,040
Speaker 2: You never know what the thing is going to be.

890
00:39:19,040 --> 00:39:20,680
Speaker 2: It's going to all of a sudden open up a door.

891
00:39:20,719 --> 00:39:22,719
Speaker 2: And I can definitely point to a few pieces of

892
00:39:22,760 --> 00:39:25,640
Speaker 2: content that they were in. Some of them were very

893
00:39:25,680 --> 00:39:27,560
Speaker 2: low production, not to say that what you were doing

894
00:39:27,600 --> 00:39:30,319
Speaker 2: with that production, but like yeah, like I look. The

895
00:39:30,360 --> 00:39:32,640
Speaker 2: biggest one I remember we did was I literally took

896
00:39:32,760 --> 00:39:35,360
Speaker 2: a I went ordered the six piece wings from h

897
00:39:35,440 --> 00:39:38,960
Speaker 2: JR Crickets, and we put all we put five wings

898
00:39:39,640 --> 00:39:41,960
Speaker 2: on a plate and I took had my intern take

899
00:39:42,000 --> 00:39:44,000
Speaker 2: a bite out of each one. I said, oh, the

900
00:39:44,000 --> 00:39:46,200
Speaker 2: first one, take a small bite, and it gets bigger

901
00:39:46,239 --> 00:39:47,600
Speaker 2: and bigger and bigger than the last one. I just

902
00:39:47,640 --> 00:39:48,759
Speaker 2: want you to just eat it all the way down

903
00:39:48,760 --> 00:39:51,120
Speaker 2: to the bone, right. And then we put that plate.

904
00:39:51,160 --> 00:39:54,720
Speaker 2: We took just a regular photo, no special effects, no editing,

905
00:39:55,360 --> 00:39:57,720
Speaker 2: put it on Instagram and said through one through five,

906
00:39:57,920 --> 00:40:00,600
Speaker 2: how do you eat your wings? When I tell you

907
00:40:01,400 --> 00:40:05,600
Speaker 2: that post ended up? Chrissy Teagan is arguing with people

908
00:40:05,640 --> 00:40:07,840
Speaker 2: on Twitter about it about if you not a five,

909
00:40:07,960 --> 00:40:12,319
Speaker 2: don't come to my house. Complex picked it up. You know,

910
00:40:12,600 --> 00:40:14,319
Speaker 2: hot Ones is reaching out to us.

911
00:40:14,880 --> 00:40:15,080
Speaker 1: Uh.

912
00:40:15,160 --> 00:40:20,239
Speaker 2: It even became a story on the Today Show, and

913
00:40:20,560 --> 00:40:22,399
Speaker 2: so is this and so like even what you're talking

914
00:40:22,400 --> 00:40:24,120
Speaker 2: about when Uncle Puci right, like you just saw an

915
00:40:24,120 --> 00:40:25,880
Speaker 2: opportunity to kind of create this content. You don't know

916
00:40:25,880 --> 00:40:27,239
Speaker 2: what's gonna come from it. One thing I just want

917
00:40:27,280 --> 00:40:29,080
Speaker 2: to kind of tell content creators and people that are

918
00:40:29,080 --> 00:40:31,799
Speaker 2: making content in general is you never know what the

919
00:40:31,840 --> 00:40:33,440
Speaker 2: thing is. And so what I would always tell my

920
00:40:33,480 --> 00:40:35,680
Speaker 2: team is you got to just keep throwing.

921
00:40:36,160 --> 00:40:36,360
Speaker 1: You know.

922
00:40:36,440 --> 00:40:39,480
Speaker 2: It's like again, the example always kind of gives is

923
00:40:39,480 --> 00:40:41,680
Speaker 2: if you learn how to juggle, you know what you

924
00:40:41,719 --> 00:40:43,560
Speaker 2: do is you watch them, don't wash the hand they're

925
00:40:43,920 --> 00:40:46,120
Speaker 2: they're they're throwing with wash your hand, they're catching with

926
00:40:46,239 --> 00:40:48,120
Speaker 2: because if the hand they're catching with it's like moving

927
00:40:48,160 --> 00:40:51,719
Speaker 2: all over the place, they're not throwing consistently. And so

928
00:40:51,760 --> 00:40:53,520
Speaker 2: what I've just learned over the years is you got

929
00:40:53,560 --> 00:40:55,600
Speaker 2: to throw consistently. You just got to put stuff out

930
00:40:55,640 --> 00:40:58,239
Speaker 2: there and not get overly caught up about you know,

931
00:40:58,320 --> 00:41:00,239
Speaker 2: a lot of times again we were worried about how

932
00:41:00,239 --> 00:41:01,960
Speaker 2: it's going to look or get how it gets perceived.

933
00:41:02,000 --> 00:41:03,560
Speaker 3: And again we do different things.

934
00:41:03,600 --> 00:41:06,000
Speaker 2: But just even in that example, right, like, I'm sure

935
00:41:06,000 --> 00:41:08,120
Speaker 2: it sounds like there have been things that you did

936
00:41:08,200 --> 00:41:09,560
Speaker 2: it just because you want to do it, or you

937
00:41:09,560 --> 00:41:11,080
Speaker 2: did it because you felt like it felt fun, and

938
00:41:11,120 --> 00:41:14,640
Speaker 2: it wasn't about doing some super highly produced thing that

939
00:41:14,680 --> 00:41:16,279
Speaker 2: somebody's going to createive direct. You did it because it

940
00:41:16,280 --> 00:41:17,560
Speaker 2: felt good to you, and all of a sudden it

941
00:41:17,560 --> 00:41:19,560
Speaker 2: pops off, and that feels really good, right like when

942
00:41:19,560 --> 00:41:22,520
Speaker 2: you did something authentic and it just popped off. Besides

943
00:41:22,560 --> 00:41:24,239
Speaker 2: the capoocia, there have been other things like that that

944
00:41:24,320 --> 00:41:26,319
Speaker 2: you just worked on because you wanted to do them

945
00:41:26,320 --> 00:41:29,600
Speaker 2: that have really popped off for you.

946
00:41:29,719 --> 00:41:32,200
Speaker 1: Yeah, And you know, I think that's why we love

947
00:41:32,400 --> 00:41:34,840
Speaker 1: butter Atl Going back to y'all too, because y'all always

948
00:41:34,880 --> 00:41:37,360
Speaker 1: do things just like plass your little hood and like

949
00:41:37,400 --> 00:41:42,440
Speaker 1: y'all feel like everybody should like even some stuffing that

950
00:41:42,480 --> 00:41:44,759
Speaker 1: y'all do, like every season you love like this is

951
00:41:44,800 --> 00:41:47,239
Speaker 1: where you are. I was like, yeah, how hot it is?

952
00:41:47,360 --> 00:41:50,600
Speaker 1: Or hell's at it? I'm like, I love that, you

953
00:41:50,680 --> 00:41:54,040
Speaker 1: know so much. And I was just telling someone that earlier,

954
00:41:54,080 --> 00:41:57,880
Speaker 1: I do these consultation calls where creative some call sometimes

955
00:41:57,880 --> 00:42:00,920
Speaker 1: like actors who want to move into directing or a

956
00:42:01,000 --> 00:42:03,000
Speaker 1: creative who wants to do something else, and they can

957
00:42:03,040 --> 00:42:05,120
Speaker 1: just call and we just talk about whatever they want.

958
00:42:05,480 --> 00:42:07,160
Speaker 1: And I was telling I heard that same thing this morning.

959
00:42:07,200 --> 00:42:10,920
Speaker 1: It's consistency, and with consistency, your audience will tell you

960
00:42:10,960 --> 00:42:13,080
Speaker 1: what they like from you, because sometimes we think it's

961
00:42:13,120 --> 00:42:15,799
Speaker 1: the other thing that's like super polished. It's never that.

962
00:42:16,080 --> 00:42:19,719
Speaker 1: And so I always found that, like my little dumb

963
00:42:19,719 --> 00:42:22,839
Speaker 1: ideas and my little blonde stuff, it just comes out

964
00:42:22,840 --> 00:42:26,120
Speaker 1: of nowhere, does this? Like I remember one time for Halloween,

965
00:42:26,200 --> 00:42:29,080
Speaker 1: I was like, I want to be a meme and

966
00:42:29,360 --> 00:42:35,120
Speaker 1: I kind of feel that myself. It was two rappers.

967
00:42:35,120 --> 00:42:37,160
Speaker 1: It was two guys on stage rapping and one was

968
00:42:37,200 --> 00:42:39,759
Speaker 1: a bit more effeminate, and so that was where viral

969
00:42:39,800 --> 00:42:41,120
Speaker 1: and I was just like, I want to be that

970
00:42:41,200 --> 00:42:43,560
Speaker 1: for Halloween and it just went viral. Or just like

971
00:42:43,640 --> 00:42:48,400
Speaker 1: this animation I did of Beyonce's mom when the remix

972
00:42:48,440 --> 00:42:51,160
Speaker 1: to the Savage came out with Megan and Beyonce, and

973
00:42:51,200 --> 00:42:53,879
Speaker 1: I was like, what do I put Beyonce's mom's head

974
00:42:53,880 --> 00:42:55,640
Speaker 1: on this girl's body? And this is something that I

975
00:42:55,680 --> 00:42:57,480
Speaker 1: just wanted to do because I was it was three am,

976
00:42:57,560 --> 00:43:00,239
Speaker 1: I was bored, and that went viral too. So I

977
00:43:00,280 --> 00:43:02,520
Speaker 1: just found like when I just do things that I

978
00:43:02,560 --> 00:43:05,239
Speaker 1: am toikleed by that's a little dumb, it always does great.

979
00:43:05,520 --> 00:43:08,319
Speaker 2: Yeah, and that's because again, other people find that same

980
00:43:08,320 --> 00:43:08,960
Speaker 2: stuff interesting.

981
00:43:09,040 --> 00:43:09,239
Speaker 3: I think.

982
00:43:09,560 --> 00:43:10,880
Speaker 2: I think a lot of times we just get so

983
00:43:11,080 --> 00:43:13,239
Speaker 2: in our head. You know, we like to you know,

984
00:43:13,280 --> 00:43:15,120
Speaker 2: we like to hold up all our experience and our

985
00:43:15,160 --> 00:43:17,839
Speaker 2: degrees and we think that we have to like overengineer it.

986
00:43:18,360 --> 00:43:20,600
Speaker 2: And I'm telling you, never know what the thing is

987
00:43:20,840 --> 00:43:23,759
Speaker 2: and a lot of times stuff and that's what I've

988
00:43:23,840 --> 00:43:26,600
Speaker 2: learned and making content every day for like the last

989
00:43:26,600 --> 00:43:27,160
Speaker 2: six years.

990
00:43:27,200 --> 00:43:28,600
Speaker 3: Right, It's just you never know what the thing is

991
00:43:28,640 --> 00:43:31,000
Speaker 3: going to be. So that truly resonates with me.

992
00:43:31,120 --> 00:43:31,239
Speaker 1: You know.

993
00:43:31,239 --> 00:43:32,560
Speaker 2: One last question I would to ask for we get

994
00:43:32,560 --> 00:43:34,120
Speaker 2: ready to get out of here. Is so you just

995
00:43:34,160 --> 00:43:37,319
Speaker 2: mentioned you do consultation calls, like what's the what's the

996
00:43:37,320 --> 00:43:40,640
Speaker 2: best advice you've ever received? Like what's the advice that

997
00:43:40,840 --> 00:43:42,080
Speaker 2: maya table goes by.

998
00:43:42,000 --> 00:43:42,600
Speaker 3: And lives by?

999
00:43:44,719 --> 00:43:47,799
Speaker 1: Man, what's for me is for me. What God has

1000
00:43:47,800 --> 00:43:50,400
Speaker 1: to me is for me. So no matter if, like

1001
00:43:50,680 --> 00:43:53,240
Speaker 1: if I gave you my whole Rolodex, my whole phone,

1002
00:43:53,680 --> 00:43:56,160
Speaker 1: my whole computer with all these contacts in it, and

1003
00:43:56,200 --> 00:43:58,880
Speaker 1: I give you all the information, I know your blessing

1004
00:43:58,920 --> 00:44:01,120
Speaker 1: is still not my blass. So I don't have a

1005
00:44:01,160 --> 00:44:04,359
Speaker 1: reason to be jealous or of anyone. That also comes

1006
00:44:04,360 --> 00:44:07,200
Speaker 1: down to like the timing of things. I'm not I'm

1007
00:44:07,400 --> 00:44:10,000
Speaker 1: aggressively submitting on all these projects, but I'm not so

1008
00:44:10,080 --> 00:44:12,200
Speaker 1: behold and where I'm like so upset when I don't

1009
00:44:12,200 --> 00:44:14,520
Speaker 1: get it, I'm like, well, shit, it didn't happen, and

1010
00:44:14,560 --> 00:44:16,200
Speaker 1: I move on. But I know the thing that the

1011
00:44:16,200 --> 00:44:19,799
Speaker 1: projects that our mind have always been mine. So no

1012
00:44:19,800 --> 00:44:21,320
Speaker 1: matter if I didn't get it, that was you know

1013
00:44:21,360 --> 00:44:22,759
Speaker 1: what I'm saying. When you think about it was never

1014
00:44:22,800 --> 00:44:25,360
Speaker 1: your project. If you didn't get it, here weren't yours.

1015
00:44:25,600 --> 00:44:27,640
Speaker 1: And so I rely heavily on that and the things

1016
00:44:27,680 --> 00:44:29,560
Speaker 1: I do, and that brings me a lot of peace.

1017
00:44:29,680 --> 00:44:32,959
Speaker 1: So that's what I would say. What's mine is always mine.

1018
00:44:33,080 --> 00:44:34,600
Speaker 1: What's meant for you, It's always meant for you.

1019
00:44:34,719 --> 00:44:36,680
Speaker 2: It's the truth I tell people all the time. Y'all

1020
00:44:36,680 --> 00:44:39,279
Speaker 2: try to beat y'allselves to y'all destiny. Man, if it's

1021
00:44:39,280 --> 00:44:41,239
Speaker 2: there for you, ain't nobody. You don't have to run.

1022
00:44:41,480 --> 00:44:43,200
Speaker 2: If it's there for you, it'll be there when it's

1023
00:44:43,200 --> 00:44:45,680
Speaker 2: supposed to be there for you. But y'all are trying

1024
00:44:45,680 --> 00:44:47,480
Speaker 2: to beat yourself to your own destiny. And if you

1025
00:44:47,520 --> 00:44:49,880
Speaker 2: get there too early, it's not gonna be ready.

1026
00:44:50,160 --> 00:44:52,680
Speaker 1: You know it's not gonna be there. Yeah, you wanna

1027
00:44:52,680 --> 00:44:54,560
Speaker 1: be ready. I always say that, like I want to

1028
00:44:54,600 --> 00:44:57,479
Speaker 1: be ready to direct Denzel Washington and was I read

1029
00:44:57,560 --> 00:44:59,759
Speaker 1: there like five years ago? No? Am I there? Now? Hey,

1030
00:45:00,080 --> 00:45:02,200
Speaker 1: I can direct anybody, and even down to like I

1031
00:45:02,239 --> 00:45:04,200
Speaker 1: don't have kids. I want kids. I want to kids

1032
00:45:04,239 --> 00:45:06,719
Speaker 1: so bad since I was sixteen, And recently I've been

1033
00:45:06,760 --> 00:45:09,960
Speaker 1: saying like, well, God knows that, and if that's something

1034
00:45:10,000 --> 00:45:12,600
Speaker 1: that God knows and there's something I want he wants

1035
00:45:12,600 --> 00:45:14,399
Speaker 1: me to have about have those right now, So that's

1036
00:45:14,480 --> 00:45:16,399
Speaker 1: giving me a lot of peace too. Be like, well,

1037
00:45:16,440 --> 00:45:18,560
Speaker 1: shit made them so be a good auntie. I don't know,

1038
00:45:18,600 --> 00:45:20,440
Speaker 1: you know what I'm saying, Like you know, so we

1039
00:45:20,600 --> 00:45:22,880
Speaker 1: are just like taking what God gives us and just

1040
00:45:22,920 --> 00:45:24,799
Speaker 1: doing the best that we can. But some things you

1041
00:45:24,960 --> 00:45:27,040
Speaker 1: just just have to stay present. And so I just

1042
00:45:27,120 --> 00:45:28,680
Speaker 1: choose to stay present all the time.

1043
00:45:28,920 --> 00:45:32,600
Speaker 2: Absolutely, well, you being present today was a gift, So

1044
00:45:32,640 --> 00:45:36,440
Speaker 2: we appreciate you. Miss my table. Before we get out

1045
00:45:36,480 --> 00:45:38,520
Speaker 2: of here, please, how can people find you? Get in

1046
00:45:38,560 --> 00:45:41,040
Speaker 2: contact with you? How can they hire you as a

1047
00:45:41,120 --> 00:45:42,680
Speaker 2: director for their next project?

1048
00:45:42,680 --> 00:45:43,759
Speaker 3: Go ahead and do your thing.

1049
00:45:45,080 --> 00:45:47,759
Speaker 1: You can find me on maya table, dot com, in

1050
00:45:47,880 --> 00:45:51,799
Speaker 1: aya table or maya table on all social media. And

1051
00:45:51,800 --> 00:45:54,080
Speaker 1: that's my real last name. People always think it's a

1052
00:45:54,080 --> 00:45:57,480
Speaker 1: fake name. I'm like, no, it's the whole table family.

1053
00:45:57,760 --> 00:46:00,440
Speaker 1: My great great great granddad was a slave and then

1054
00:46:00,480 --> 00:46:02,000
Speaker 1: when he got out of the slavery, we figured he

1055
00:46:02,040 --> 00:46:03,719
Speaker 1: wants to change his last name. He looked around, he

1056
00:46:03,760 --> 00:46:06,840
Speaker 1: was like, table, that's we feel like that's how it happened.

1057
00:46:06,840 --> 00:46:09,440
Speaker 1: But yeah, just the table, Maya Table.

1058
00:46:09,760 --> 00:46:11,279
Speaker 3: And don't be asking her what she's going to bring

1059
00:46:11,320 --> 00:46:11,840
Speaker 3: to the table.

1060
00:46:12,000 --> 00:46:15,360
Speaker 2: She is the table, miss Maya, Table Maya, thank you

1061
00:46:15,400 --> 00:46:17,680
Speaker 2: so much for joining us on button Nomics. You are

1062
00:46:17,719 --> 00:46:19,880
Speaker 2: the best and we really and truly do appreciate you.

1063
00:46:20,320 --> 00:46:21,000
Speaker 1: Thank you too.

1064
00:46:21,160 --> 00:46:23,759
Speaker 3: You are the best, absolutely all right.

1065
00:46:26,560 --> 00:46:28,840
Speaker 2: You've been listening to button Nomics and I'm your host,

1066
00:46:29,000 --> 00:46:31,640
Speaker 2: Brandon Butler, comments feedback. Want to be a part of

1067
00:46:31,680 --> 00:46:34,200
Speaker 2: the show, Send us an email today at Hello at

1068
00:46:34,239 --> 00:46:37,560
Speaker 2: butterdomics dot com. Butter Nomics is produced in Atlanta, Georgia

1069
00:46:37,560 --> 00:46:40,560
Speaker 2: at iHeartMedia by Ramsey, with marketing and support from Queen

1070
00:46:40,560 --> 00:46:44,120
Speaker 2: and Nike. Music provided by mister Hanky. If you haven't already,

1071
00:46:44,200 --> 00:46:46,719
Speaker 2: hit that subscribe button and never missed an episode, and

1072
00:46:46,920 --> 00:46:49,040
Speaker 2: be sure to follow us on all our social platforms

1073
00:46:49,080 --> 00:46:52,279
Speaker 2: at butter dot at l. Listen to button Nomics on

1074
00:46:52,280 --> 00:46:56,040
Speaker 2: the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.