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Welcome to Film on Tape, a free audio library for creatives in film and television.
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My name is Misha Calvert, and I've worked as an actor, writer, director, and
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producer for many decades. I had so many questions when I was first getting started
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in New York, and I just wanted fast, free answers. That is what this library is
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for. The work that you do as a creative is so important. I really hope that this
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library is going to help get your work out there. Film on Tape is sponsored by
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Vermillion, a coaching and educational company for creatives. You can learn more at
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clubvermillion.com.
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Today I'm going to give you a formula on how to increase your creative output.
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I know a lot of folks are struggling to move forward right now in particular with the
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creative works that they have, the projects that they have going. And I'm hoping
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that this structure is going to help. Now I didn't come up with the terminology
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that I'm going to use, math and poetry. That's something that came from my writing
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mentor, John Shear, who's an amazing teacher who's still teaching in New York acting
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and writing. So I'm going to borrow from him, But I did expand upon it in a way
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that I think is really cool and useful, and I hope that you feel the same.
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So I'm going to share with you some thoughts around this math versus poetry concept
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and the polarity that it presents to the artistic process.
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So we're all mathematicians and we're all poets, And what I mean by that is we
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have a combination of structured thinking and unstructured thinking. So this can go
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by many names, math, poetry, business, art, emotion, logic,
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or logic, emotion. And these two polarities represent key aspects of creation that
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often face off against each other as opposites, but actually they are both essential
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to the creative process. These two different poles are both critical to making work.
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Although I'm going to focus on math and poetry as it applies to writing, because
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that was the construct that I was first introduced to it with and what I'm using
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it now for, it can be applied to anything. Anything creative, it could be applied
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to acting, to dance, to podcasting, to any of the arts. So the invitation is there
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to take what I'm talking about and apply it to what your particular medium is right
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now. So imagine two kind of thought clouds.
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Imagine two silos. Imagine two columns, and these are the two polarities that I'm
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speaking about. So we have math, poetry, logic, emotion, structure, exploration,
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conscious brain, the unconscious brain, controlled, uncontrolled, contracting,
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expanding, editing versus free writing, the plan versus the dream,
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discipline versus inspiration, and finally matter versus spirit.
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Now most of us are imbalanced on this, so we will have one more than the other,
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or we'll have like a lot more of one than the other, you know, maybe, for
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instance, we've all met someone who is like so controlled and so structured that
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they have trouble being spontaneous really in any facet of their life. And then on
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the other hand, I certainly know people who are so uncontrolled and like kind of
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raw and wild, that I wonder how they're still alive, frankly. So these imbalances
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are normal and rare is it that anyone is 50 /50. I happen to be 50 /50,
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but that's just because I truly think I was born to be 50 /50. My SAT scores were
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50 /50 language and math. I scored the exact same score on both.
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And I remember being really floored by that because I had always thought of myself
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as much more unstructured and much more wild and uncontrolled because I grew up in
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a wild and uncontrolled environment. It was like chaos in my house and clutter
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everywhere and all these plants everywhere and a lot of pot smoke at times,
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not me, but um, So, it was kind of like this wild greenhouse of chaos.
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And I always figured that that would be me forever.
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And that's why I was so floored when I, not that the SATs are everything, they're
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not. But to see that 50 /50 score, I was like, "Oh, maybe I have more structure
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than I thought." And now, in my adult life, I'm finding that I'm far more
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structured than I am, like, wild and raw. And part of that's a conscious choice.
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So I think I've maybe overcorrected for what I saw as a lack of discipline in my
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early life. But there's also a tendency as we age for us to get more conservative.
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And this explains a lot, just sociologically, about the sort of the grumpy older
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person paradigm stereotype, but our brains are optimizing to keep us alive.
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In order to do so, they tend to become less adventurous over time.
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As we age, we naturally gravitate more toward the math, toward the structure.
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This is evidenced by the NASA study that I reference, I feel like every time I
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podcast, I talk about this study of these 1600 kids who were creative geniuses when
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they were five years old, and by the time they were 35 years old, almost none of
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them had that same level of creativity. Whether it's social influence or just the
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natural biological predisposition of our brain to become more math and less poetry.
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If you want to stay in the poetry and in the sort of raw creative expression, you
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do, I find, have to work for it. You have to reach for it and cultivate it in
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your life. So we're going to talk about both columns, however. We're going to talk
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about the structure and the unstructure today. But first, I have a few questions for
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you. And if you want, You can pause the episode as we go and write down your
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answers, or you could just think about it as we're talking. I imagine you sitting
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right here next to me and maybe sipping on a beverage and we're just chatting about
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this. Stuff like this is some of my favorite topics in the whole world. So my
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question to you is, is your tendency in art one or the other?
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do you know? Do you lean more towards the math or more towards the poetry?
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Are you more, when you sit down to work on a project, are you more structured or
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are you more chaotic? Once you've figured out which one it is, I'm curious,
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is that tendency your own or did you pick it up from a caretaker?
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Like, for me, I had wild, raw creativity, and I picked up a lot of that from my
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parents. What is your authentic expression like on these two polar ends?
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So there's what you exhibit now, what you picked up from your caretakers,
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and then there's what maybe you were born with, like the original kind of balance
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of these two. You know your authentic balance in your art.
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And finally, okay, where would you like to be with these two different categories?
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Do you want to be more structured? Do you want to be more poetic and more raw in
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your creative expression? So feel free to write down your responses if you want to
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pause the episode or Go along with me to this next section,
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which is how to create more of that poetry? All right,
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so how to create more poetry in your writing? I'm gonna give you some tools to
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increase the raw creativity in your work and It is really important for you to
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experiment with this process and not view it as results driven. There are no wrong
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answers for this particular side of things. There's no way to fail.
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You just have to be curious and play and not worry about results. Like when you
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were a kid playing in the dirt, was there ever a wrong way to play? I mean maybe
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like beating your sibling over the head, but other than that, Was there a way to
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like play in the dirt badly? Like, no, you're a kid, you're playing. The point is
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you're using your imagination and experimenting. So
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step one is to let your subconscious take over.
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And what I mean by that is allow your subconscious to take the feel on creative
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subjects. And there's a couple of really concrete ways that you can do that. Your
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subconscious brain is far more powerful than your conscious brain. I throw out the
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stat of conscious brain processes, 134 megabytes of data per second. Subconscious can
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process up to 11 million megabytes of data per second. So it's like the difference
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between a drop of water and a bathtub full of water. like there's no comparison.
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So a couple things you can do to activate your subconscious, you can ask it a question
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right before you go to bed and then allow your sleep and your dreams to guide you
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and show you an answer. Because your subconscious comes forward from the time you
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start to get sleepy, your brainwaves change and you enter a different state of
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brain. So when you're sleeping as well with REM sleep and all the stages of sleep
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relief, so let your subconscious answer questions that your conscious brain can't
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answer. The second way to increase your subconscious power is to allow yourself to
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use in the shower, in the bath, while driving, while cleaning.
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Basically, you enter a soft trance state when you're in those liminal spaces where
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you're kind of doing something on autopilot, but not really focusing too much on it.
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That part that is not focusing on it is going to be able to think about creative
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projects. Like I know for me, the shower is one of the places where I get the
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best ideas. They just, something about the hypnotic water on my body and it's like
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drowning out the noise and I feel completely alone and it's just, I can focus. And,
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but in a really soft way, like it's like going into another dimension almost. So
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those are the two ways to increase your subconscious.
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I am so excited to tell you that I'm launching a brand new slate of classes that
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are incredibly helpful on my website. Some of the classes include on-camera acting
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technique and how to self-produce your own film, actor self-care, which is something
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that nobody talks about, and how to write a feature film in 10 days, which I'm
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going to teach you how I did it and how you can do it too. And believe me when
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I say I poured my heart into these courses. Go to clubvermillion.com.
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I am so excited about this website. I can't wait to work with you.
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You can also, if you want to create more poetry, you can increase your inspiration.
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So fire up your inspiration by going visual. You can cut out pictures,
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you can make a Pinterest board, you can draw or paint the images that are coming
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to mind for this project, but the point is to get visual and let your imagination,
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image, imagination take over. And that might show you some things about your project
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that your conscious brain isn't really even thinking about yet. You can also try
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jotting down the most sensorily alive parts of your project, whether it's a script
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or a character or a dance. You can write through the five senses.
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What do you see here? Smell, taste, touch. That might awaken something that,
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again, is just pre-lingual, pre-math. The third way you can activate your poetry is
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by asking your body. This has been really helpful for me because I used
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to ignore my body completely and then I realized my body kind of knows a lot about
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my projects that maybe my conscious brain doesn't. So you can put on a playlist
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that you create just for your project. This has literally changed my entire writing
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life. Take your time creating it, put some effort into it. If you find the perfect
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songs for your film or your show, that playlist is really gonna help you write it.
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And then try dancing to the playlist. Let your body teach you about the world and
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the characters and yeah, just let your body do the talking. I did this with one of
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my weekly career groups the other night because a couple of the folks were
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experiencing the same blockage in their lives and I just knew I felt that it needed
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to be a somatic solution. So I put on a song for them, escorted them into the
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other room and I let them fricking rage and they danced to these very like
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activating angry songs and they both said that they had major breakthroughs after
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that experience. So if you feel like you're hitting a wall with trying to move
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forward, try dancing it out and see what your body has to tell you. The number
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four way that you can activate or poetry is by talking to a friend about it.
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So this is an invitation for you once this podcast is over to find a friend who
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you trust
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and take them out for a coffee and tell them the most exciting thing about your
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piece, whatever you're working on. And tell them what it means to you emotionally,
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like really open up, and not just the plot, like the brain plot, but the heart of
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it, like let your emotions speak, and then ask them what resonated with them as you
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were talking about the peace,
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and then listen to them, listen to what they say, because you hearing that your
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emotional experience, activated something in someone else is really powerful and might
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open up other emotions that you didn't even know were there.
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So the invitation is to find someone after you're done listening to this episode and
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pair up with them and try it. Try to let your emotions speak about your project.
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Okay, that's poetry, let's cover math.
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So for everyone who's like, oh, I have so many ideas, but I can't make it
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concrete, or I just don't have the discipline, or I don't have structure,
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I don't have form to my vision. Well, this part's for you. So this is not about
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expanding, it's not about becoming more wild and moving out with things,
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it's actually about moving in and refining and critical thinking, committing to the
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shape that your project wants to take. So this is often a simpler process than the
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moving out wild expansion, But it can take longer. It can take longer than the
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poetry because sometimes it's just the whittling down of the sculpture and that
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just takes a while instead of the spontaneous like oh I have the idea for the
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sculpture. The actual crafting of it takes a lot more time sometimes.
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So speaking about
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I'm going to give you a seven part, a seven, I'm going to give you seven steps
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for how to create structure with your script. And you should be able to borrow a
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good part of this for whatever your medium is, but this is for screenwriters. So
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number one, you want to learn from tradition. A really great way to do this is
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watch three of your favorite films, and then read the screenplay of those films.
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And you can do it in whatever order you like, but the key is to see how the
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screenplay was a blueprint for what ended up on screen, and you really learn, "Oh,
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that's how they represented that thing on the screen. Oh, that's what they said.
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That's how they wrote it. That's like the italics that they used or the spacing
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that they used. Got it, got it, got it." So, let tradition teach you.
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And then you can also sign up for a screenwriting class. That's what I did. That's
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how I learned. I didn't go to film school. So I had to take these sort of adult
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education classes, you know, made for people who've already graduated. And those were
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great. John Shear has a really good one. Jacob Kruger has a really good one. I
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love his writing programs. There's others out there. Sample, if you find someone you
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like, stick with them. Number two, you want to start with a log line for your
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project. The log line can and probably will change, but start with a log line.
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Number three, create an outline.
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An outline is the whole movie just with little slug lines or,
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you know, scene descriptions of what happens next, what happens next, what happens
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next. And then write a treatment. And often writers will do all three of these
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things before they've ever written a single page of script. Why? Because it really
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helps you understand what you're writing so that when you do sit down to actually
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create pages, you can rip through them because it's mostly just dialogue at that
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point. And it's really fun. It's really fun once you know what happens and in what
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order and why. Writing the pages is like the easiest part.
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So you can kind of alternate amongst logline, outline treatment,
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logline, outline treatment, like bounce around and work on whichever one you want to
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or one's gonna inform the other, you know?
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Another thing you can do is build the pitch deck. And the reason that that is so
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important is because if you're creating a pitch deck and it's image heavy, you're
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already gonna be understanding what is the visual language of this piece.
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Films speak in images for the most part, TV to a certain extent, but you wanna
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understand, okay, cinematically what is the world that I'm building and how can I
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start to take my words and turn them in.
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want people to see it. It's not just for you to watch alone in your room.
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Marketing is really, really important for a film, understanding, as John would say,
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the trailer of the film before you have written it. A lot of that can be
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accomplished by creating the pitch deck and having the pitch deck really, really hit.
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Again, you can work on all this stuff before you write any pages, log in, outline,
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treatment, pitch deck. Or you can start the pages. I did this recently with a
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feature film that I'm writing right now, where I,
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well, I'm on the fourth draft, so I would write, always write an outline first and
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then I'd churn out the draft, took me about a month per draft, full feature length
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film. And now I've written an outline and I felt that the outline was going to
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change once I started writing pages. So I actually abandoned the outline and I've
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wrote the first half of the script. Well, the first half of the script did follow
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the outline, but then once I got through it, I was like, the rest of this outline
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doesn't fit anymore. So now anymore. Now I'm reworking the outline based on what
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I've already written because you really can discover more about a character sometimes
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by getting into a scene and actually writing the dialogue. This isn't a hard and
00:22:20:00 - 00:22:25:29
fast way of doing things. You're going to find the way that works for you, but if
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you're intimidated by the idea of writing a script, start with that logline outline
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treatment, and maybe even the pitch deck.
00:22:35:00 - 00:22:41:29
Step six is to refine all of these things. Logline outline treatment deck.
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And step seven is to take my how to write a feature film in 10 days class,
00:22:49:00 - 00:22:54:29
which is in the portal for all Vermillion members. I'm very proud of the class and
00:22:55:00 - 00:22:59:29
It's totally possible to write a feature film in 10 days. I've done it several
00:23:00:00 - 00:23:08:29
times. The first film I ever wrote got optioned and that I wrote in seven days.
00:23:09:00 - 00:23:15:29
So if you're fired up and you have an idea of how to approach structure like this,
00:23:16:00 - 00:23:19:29
it's in the bag.
00:23:20:00 - 00:23:24:29
Okay, so that is most of what I wanted to talk about today.
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I think the important thing to leave you with is if you're creating something new,
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the job is not to be good at whatever you're creating.
00:23:40:00 - 00:23:45:29
If you're starting to move into a new medium, writing your first script or creating
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your first dance piece or a new genre of acting or whatever. If it's new for you,
00:23:53:00 - 00:23:59:29
the assignment is not to be good. It's not it.
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You probably won't be good at it. Like that's normal. It would be abnormal for you
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to be good at something that you've never done before. That would be weird.
00:24:10:00 - 00:24:14:29
And Yet, I constantly see artists putting that pressure on themselves of the first
00:24:15:00 - 00:24:18:29
time that they do something. It has to be good. Like, no, where did that come
00:24:19:00 - 00:24:25:29
from? The first time you walked, you fell like 5 ,000 times.
00:24:26:00 - 00:24:29:29
First time you rode a bicycle, first time you went on a date. First time I went
00:24:30:00 - 00:24:34:29
on a date. Very bad at it. So don't expect yourself to be good at whatever you're
00:24:35:00 - 00:24:37:29
doing.
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You just have to start and just get through it.
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Just just finish one version of it. And then your job after you finish version one
00:24:50:00 - 00:24:55:29
is to make version two just a little bit better.
00:24:56:00 - 00:24:59:29
And then your job with version three is to make it just a little but better than
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version two. And if you have that kind of almost childlike exploratory mindset,
00:25:09:00 - 00:25:14:29
the math and the poetry is going to flow. Just remember being a kid,
00:25:15:00 - 00:25:21:29
playing out in the yard and how naturally that creativity flowed.
00:25:22:00 - 00:25:24:29
And there was structure when you needed it and there was chaos when you needed
00:25:25:00 - 00:25:32:29
that. So I really hope that you can come back to the joy of creation with these
00:25:33:00 - 00:25:38:29
formulas. And I would love to hear what you create on the other side.
00:25:39:00 - 00:25:42:29
Thank you so much, I will see you next week. - Thank you so much for listening to
00:25:43:00 - 00:25:46:29
Film on Tape. If you like the way that I approach the industry, check out our
00:25:47:00 - 00:25:51:29
other classes, consulting and mentorship at ClubVermillion.com. Vermillion is a home
00:25:52:00 - 00:25:57:29
for artists and those looking to expand creatively. Whether you're an actor, a film
00:25:58:00 - 00:26:02:29
professional, an entrepreneur, or a CEO, we'll help you find your voice and hone
00:26:03:00 - 00:26:08:29
your skills to thrive in any market at any scale. You can schedule a free phone
00:26:09:00 - 00:26:13:00
consultation at ClubVermillion.com.
