BPS 419: Going Undercover and Directing for VICE with Natalia Leite

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Welcome to the Bulletproof Screenwriting Podcast, Episode number four nineteen. Do what you love, because when you're six feet under, you're going to realize the race that you were running was only against yourself. Mango Wilder broadcasting from a dark, windowless.

Room in Hollywood when we really should be working on that next draft. It's the Bulletproof Screenwriting Podcast, showing you the craft and business of screenwriting while teaching you how to make your screenplay bulletproof. And here's your host, Alex Ferrari.

Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast. I am your humble host, Alex Ferrari. Now, today's show is sponsored by Bulletproof Script Coverage. Now. Unlike other script coverage services, Bulletproof Script Coverage actually focuses on the kind of you are and the goals of the project you are, So we actually break it down by three categories micro budget,

Thank you.

Yeah, there's a wide range of things that I've been doing here.

So before we get into it, how did you actually get started in the business.

So I actually came from a visual arts background. I went to art school. I didn't have a proper film education.

What was what? So you basically that was the genesis of you wanted to be a directors. You've just kind of fell into it and like I really.

Like this, right, yeah, I fell into it and discovered that I really liked it.

Honestly, it wasn't really in my radar.

I grew up in Brazil and I just I don't know, it just wasn't like presentable a career path that was like presented to me ever that I really thought this could be an option, you know, but I knew I wanted to do something creative, and I knew I wanted to tell stories. It was just like taking another form back then. And it all like one thing led to

Like Craft Services got it.

Yeah, Aircraft Services did everything with a handful of friends, and that you know started kind of putting the wheels in motion in terms of me doing this as a career.

Which is fun because I actually saw a little bit of that show and it actually looks really good, like it actually has great production value for being such a scrappy little show. So congratulations on that.

I'll credit that to Dalmar who was our DP. Dalma, we've were mad since she's shooting High Maintenance now on HBO and she is just the queen of just like let's figure it out and still make it look gorgeous. So yeah, she's really lucky to have her as a friend and DP on that.

You definitely need people like that on your crew as a director. Yes, let's figure it out and like let's still make it look gorgeous. That's always a yeah.

It's like we're like pulling in, you know, like whatever we could find, just like bringing in lamps and just you know, attaching things like just trying to be creative of how we're going to get a good image and not make it look super low quality. So she's she's really creative in that way.

So let me ask you, how did you get that first project, that series up off the ground. I mean, obviously you need some money. Where did you find money? How did you put this whole thing together? How did you put that show together?

Yeah?

So the show we you know, it really started off as Okay, let's do this on weekends with friends, like I just want to get I just want to get work out there in the world, right, And then so everyone was working for free. But then obviously, like there came points when okay, we really do need money. We can't just like keep this going for nothing. And we ended up doing a Kickstarter. We raised twenty thousand on that Kickstarter.

Nice, which was like a lot of work.

It's like, not a lot of money at all for making a series. You know that ended up being like an hour and a bit long. But we really stretched it out and made those twenty k on Kickstarter and and through that met like other investors. It was actually a pretty successful campaign for us because we just met a lot of people that then ended up financing other projects.

And where and where is it being shown now?

So be here now?

Is is still on We ended up selling the first season to a company called Aura, so they have it on their site. And then the second season we had it with full screen, which full screen no longer exists. So now it's just up on our Vimeo, and we're trying to figure out if we can just like throw it up on YouTube because for us at this point, it's just about, you know, letting people watch it. I mean, it's it's you know, it's older. It's old now I consider it for.

Yes ancients, like three years old. It's like three years old. My god, then it's like the eighties.

But I want people to still watch it. You know, I've aged a bit since I was doing that.

Yes, yes, oh yes, yes, you look aggared lately. I'm sorry.

Yes, it's my youth, so you can go back to your youth.

Is my youth is fading away in front of you? Yes, those three years really killed it. Now what is it for you? It's ferally ask you, So what is your process when you're creating or selecting a project?

My process?

So I need to gravitate towards things that I feel a personal connection to, that I feel really passionate about, because, as you know, it's just You're going to work on this thing for so long sometimes you don't even know how long, and you got to just like love it. And I feel like, for me, I need to feel it's an instinctual thing, Like I need to feel like there's like a chord from my heart to whatever the script or concept is. That's like pulling me towards it.

You know?

Otherwise I might love a story and be like, oh this is great, but I'm not feeling so passionate about It's probably not for me, like I shouldn't be the one to do it, you know.

And I think it's really good to discern that.

Well, tell me a little bit about your work with Vice and how that came about, especially that amazing documentary every Woman Life as a Truck Stop Stripper, which is when I saw that, I was like, I have to have her on the show. I need to hear all about this Yeah.

So I had been writing on my own a script for my first features called Bert and a big part of the script took place in a strip club.

But I didn't want.

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But it's sort of like a strip club in a small town, and I was looking for something that was like, you know, just off off the highway ideally, right, Like I didn't want like a big nightcluby.

Strip club in the city, in the city, right right.

And I had friends at the time. I didn't know where I was going to shoot, but I had friends who were living in Albuquerque, and I went there on like a month you know, hiatus while I was writing the script to go live in Albuquerque and ended up like touring all the strip clubs in the area as I was like doing research and ended up finding out about this club that is about forty five minutes away from Albuquerque in the middle of nowhere.

Like you're driving on.

Highway forty nothing, nothing, nothing, you pass the Walmart, then there's nothing, nothing, nothing, and then and then there's like the signs that are just like tapless and then there is like Club two, O three and it just catered to truckers.

So the truckers passing by.

They can tune into a CB radio and they'll pick up the signal and it'll be someone at the club being like tonight on stage is candy and you know whatever they say, and they'll like turn off into the side of the road. And I found out about this place. I went there alone for the first time and I was just like, what what is this?

It sounds it sounds like it sounds insane.

Yeah, it was just like it was like straight out of a David Lynch movie.

I was expecting people to start talking backwards and there'll be a little person just walking by from no.

Exactly.

I was like, wow, this is really fascinating. And it was just you know the Ryan who's the guy who owns it. It was like very much no rules type of place, and that there was like in terms of the dancing, like you could do whatever you want. They had this rocking horse that they would pull on stage sometimes and there was like, uh, you know, just like a mom and dad daughter dance Like it was like yeah, there was like serving stuff going on too, And I

All right, So before we continue that story, how did you get to Vice? Because I know a lot of filmmakers would love to have that conversation with somebody advice, How do you how do you approach a company like that?

Yeah? So okay.

I went to a panel where Eddie Muretti was speaking. It was a Tribeca Film Festival organized panel, and at the end of the panel, I cornered him.

To say, you accosted him, got it?

I did, so did like thirty other people right.

Right, as you do at panels.

As you do it panels.

And I was like, I have something that you're going to be really interested in seeing. And he's like, yeah, okay, great, reach out and just gave me his assistants email, you know. And I reached out and I sent him a link to a piece that I had shot in Cuba. This was like before every Woman that was very like I had, you know, edited it like really fast, very like vice style, and I just tend the link and I didn't say much else and he called me like right away.

It was like, get come in, come in tomorrow. You know.

It's like that's awesome.

Yeah, And it's just sometimes that stuff works, you know, but you got to be like smart about how you're approaching it, Like you people, these people don't have time, right, so it's like hey, like what's going to grab their attention? And what what do I have that they want?

Right?

And that was it, like I just met him in a panel. There was no you know from there like it opened up the scope and then we did every Woman and then he called me back to do you know, direct other things, and but that stuff is possible, like the just cold calling sometimes were it does.

And I'm actually I'm quite jealous because I am actually Cuban and I've never been to Cuba yet. So when I saw that piece that you did, I was like, oh, that would have been amazing.

Yeah, he has really special place.

I felt really lucky to be there and at that time especially and film it.

So all right, So so now you're back at the club. Was it club too two.

Two o three because that's just the highway exit, right.

So you're a club two o three and you're there for ten days.

I'm there for ten days and that was me Alexandra who came and was working with me at the time and vice sent us with one producer. This was prior to Viceland, so it was a little bit like still you know, no rules, like I mean, we were putting ourselves in dangerous situations like I think that that would fly today.

Yeah you think I saw it? I saw it? Are you are you kidding me?

Yeah? Really dangerous.

And I don't know that I would do it today because now I know a little more.

Well, obviously you're much older. Obviously I'm so much older.

I have a lot of gray hair. A good thing to interview, isn't a video?

Not want to see what I.

Look like exactly exactly? No, I mean, I mean when I saw it, I was like, this can't be. I can't believe that these girls did this, Like this is so and the guys you met work, I know, I mean.

It was intense. Yeah, I think what I realized too. But you know, the whole idea about it was I wanted to go in there to try to debunk what are the stereotypes of a stripper and like why women decide to do this and the stereotypes of a truckers that go into these clubs, right, And I really feel like it sort of opened my mind to what's possible or what kind of you know, what what the our

To listen to their stories. You know.

Of course that's just there's also then like this the creepy guy who tries to like grab you, and there's extremes.

There's the extremes of both ends.

Right exactly.

But it's not all bad, you know, And we definitely saw that. And some of the stories from the men were really intense and it was hard to listen to it.

Well, let me ask you a question when you were in that when you were in that moment, how, i mean psychologically, how was it for you, Because I mean, I'm watching this and I'm going I'm just thinking to myself, this is your young lady who's put herself in this situation with her friend for god knows what reason. And I'm thinking, how, what's the psychology, What's going on? Because this is not one one night thing. You were there for ten days, so this was a day in, day out.

I don't know.

I think a lot of sometimes I look back and I think about my best work is stuff that I'm terrified to do or terrified to talk about, and it's almost.

Like I just keep but I just keep the ball rolling.

And then you know, and then eventually it hits a moment when there's no turning back right and you're like, ah, this is happening, Like this is now out in the world. And I feel like this project was exactly that. Like I was terrified to be there. I mean, I was also having fun with it, but it was just like really intense, emotionally draining and physically draining, and I was terrified of like putting this out in the world, you know.

Because you're exposing yourself and not not in that way, but you're exposing your you're basically your soft thunderbelly to the entire world.

Yeah, exactly. So it was just a lot of exposure.

But you know, eventually you just hit a deadline and you're like you're just pressed send and that's it and then it's out. It's like has a mind of its own and it's going to be whatever it needs to be. But I think it was just, yeah, like every day it was a bit of a challenge, but you just kind of keep going because that's there's no way, there's no other way around it, you know, just put yourself to keep going.

Now, you are, from what I see in your work, you are extremely raw and vulnerable. Is that something that comes naturally to you or do you have to work at it to be able to kind of expose yourself as an artist?

Yeah? No, I think it comes naturally to me. I think I'm just naturally.

Have a can tap into that sensitivity and being very empathetic, and you know, I do end up just feeling things intensely, and then sometimes I wonder if that's a hindrance, but more so now I feel like that's an advantage.

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That I'm able to.

You know, when I'm connecting with actors, just like feel what they're feeling deeply, and just look at performance and scenes and just be really connected on an emotional level. I think it's actually really important for my work, and.

You and you agree that that's probably some of your best work. Is the more scary it is, the more extreme it might be, more vulnerable it might be. Is where you find that your work really shines.

Yeah, I do, And because that's what I want to be, you know, pushing the conversation forward, and I want to be just doing stuff that is making us think about things differently, making us feel more connected, and that sometimes times goes and you know, deal with things that we're not talking about. So like, for instance, and even to be here now is there was I wanted to do a storyline about a guy who was HIV positive and

Right?

Like, I have a cousin who's HIV positive and and these stories are interesting to me, and there's just not enough of these conversations out there. So but it's always scary because you're like, oh, this is kind of going into a dangerous territory.

That is it going to offend someone?

Like right, Like, you just don't know, and I'm I always try to push myself to to have those conversations re least open it up.

I find that, you know, by doing the kind of work that I do, and also just being a filmmaker myself, that it's it's extremely difficult to be raw and vulnerable with your work. And I find that so many filmmakers hide behind falsehoods or create these walls that you can smell on their work. You can just smell it like, oh, they didn't go all the way. Oh they just they pulled back at the last moment. And it's only the ones that go all the way that you go, oh,

Yeah, you know, it's good to remember that. Thank you.

I always like, yeah, I always feel like I have to push myself and it's always scary. But I do feel like it's sometimes like you're just standing on the edge of the cliff and you're like, oh my god, am I gonna do Am I gonna do it? And you just have to jump into the waterfall or whatever.

You just have to do it.

But that's why we're here. That's why we're here. Why are you going to play it safe? That's not that's boring. I mean, I'm not going to go and be a stripper for ten days at a truck stop in Albuquerque because that's just not my path and really I would get no tips.

But uh.

Yeah, nobody wants.

To see that.

Nobody wants to see that documentary, I promise you. So what was it like with your first feature film Bear, which was based uh, not based on but kind of uh it's in the world of every Woman. When I got accepted to Tribeca, I mean, what was that experience? Like I always anytime I have a filmmaker who gets into like Tribeca or Sundance or can or something like that, I always want to hear the story of when they find out.

I mean so thrilled.

You just don't know, Like you go into it all just hoping for the best, and it was the best.

It was really the best cause scenario for me.

It was like I wanted so vallely a premiere there and you're just.

Waiting and waiting, and.

I was so thrilled, and I was so impressed because the festival they do such an amazing job. They take such good care of their filmmakers. We weren't we didn't know what to expect, but you know, they gave us the red carpet, they gave us a party, like it was. It felt incredible.

It was really Yeah, it was really phenomenal.

Now I see, I see that you're like putting yourself in yourself in your work. How do you handle being in front and behind the camera.

So it's a little challenging for me, which is honestly why I'm not putting myself in my work as much anymore, because I feel like it's hard for me to focus on two things at once, being totally focused on my character and then also like directing the scene.

You know.

So I still will like throw myself a little scene just for fun because.

I like that, you'll pop yourself in once in a while, share you'll do your hitchcock.

Got it.

Yeah, But I just really am staying by behind the camera right now because I want to craft the story and I think like just staying you know, more connected to the actors and the whole picture is really important.

I really don't know how.

People are managed to do that, and like being the lead of a movie and also like directing, it seems really hard to.

Me, Like the Clinice Woods of the world and the George Colonies of the world, Like I'm like, how do you how do you do that?

Right?

I mean maybe like there's a point when you have the really solid support system that you can you can lean on them. I think for me, I'm still building out like who those people are, and when I find crew that I love, I'm just like Okay, like we're family. Now, you're coming with me everywhere because it's so you know, being on side is so intense, So you just want to have that rapport with you just want to assemble the family that you're going to carry around to every project without question.

I mean my last film, The Future, I just directed, I was in it unfortunately, and uh it was it was difficult. For the one scene or two scenes that I did. I was just like, oh, how do you do? How does people do this?

No, it's really hard because you can't you can't be in the moment and also be thinking big picture at least I care right.

Or unless you unless you have that trust behind the camera that you're like, Okay, my DP is going to cover me while I'm in this scene. And and and then you just after you yell cut, you like was it good? I have no idea?

Right, That's how I was like, did I do good?

Is that any? Is there?

Is that?

Really? And then all of a sudden you turn Intoto the actor. You're like you're looking for like approval, liked did I do good? Can I do it again?

But then no one wants to tell you now.

But that's when you want that DP to go, dude, did did do it again? Just but generally they're going, no, it's the light was off, And I'm like, I don't care about the light. I care about the performance right right now? What do you enjoy to create more narrative features a series or documentaries?

I I love narrative features. I love like having an arc, like a very clear troductory beginning, middle, and end that we're going through and thinking about how like the character is transforming in that. I think series like it can just go on forever, right, so there's like less of that clear hook. I like just even like as someone who like reads so many psychology books and thinks about how we transform as humans in the world, like, I

That, kind of like what Sean Baker does.

I love Sean Baker. Yeah, I'm a big fan of his work.

Sean's awesome. I mean, the Florida Project. I have no idea why that was not. It didn't get more. It should have won more stuff. It was just amazing.

Oh great, he's a Yeah, he's lovely and we've talked a few times and just been really supportive.

Awesome, throned as well.

Now, tell me a little bit about your film MFA, which having gone chance to see the movie, but I saw the trailer and I was I was again blown away by the by the subject matter and how you twisted something that normally doesn't get shown that way.

Yeah. So MFA. Leah McKendrick was the writer on it. She wrote it and she is also.

An actress, and she had just seen my work and just send me a cold email and was like, Hi, I'm looking for director.

I love for you to consider this.

And normally I'm like, oh, I don't you know, Like normally this stuff is not good. But when I get these emails. But I read her log line and she sent me the script and I was like, oh, wow, like this is really really strong, and it was just surprising to just get an email like that. And so her and I started talking. She already had some financing

I had been sexually assaulted when I was in art school.

So it was almost like, oh, I have to make this project right.

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And Francesca Eastwood, who played the lead, was just I was just so blown away by her and her performance and throwing herself into some pretty difficult scenes like talking

Go there.

And and again. When you do that is when it starts to show. The work starts to shine more and more. If you would have held back there, the movie might have had the same impact.

Yeah, yeah, for sure.

Yeah, So can you tell, just tell the audience a little bit that the log line if you will love the movie.

Yeah.

So, MFA is about an art student getting her Masters of Fine Arts and she has a crush on a boy in her class, which is played by Peter Vack, and he ends up raping her at a party she asks she kind of from then on ends up seeking revenge and hunting down slash killing the rapist on campus. So it's a rape revenge story, but in a very different tone than what we've seen before.

It's not as much I spit on your grave, not at all.

No, No, it is very raw and emotional. It's very much her point of view and really into her.

Yeah, and it is.

It is a kind of a like you were saying, it is a little bit of a combination of the real and the fictional. Because of the way you shot it, at least from the trailer, it doesn't look like a Hollywood fly She film, but it also doesn't look like a documentary. It looks a little high Brish, high British.

Yeah, it does.

Yeah, And I wanted it to be accessible to people, right, So I think about that too, like who's the audience for this? And I want I want it to be fast and fond too. And there's a version of it that could have just been a really depressing movie, and I didn't want that to.

Be it, you know.

I wanted you to be like cheering for her and excited when she gets her revenge. And there is a part, especially in the second half of the movie, where it really is more like playing off of the fun and excitement of her getting what she wants.

Oh, there's some humor in the trailer without questions, so I could only imagine, Yeah.

There's definitely humor in it too. It's kind of like a bridge of different genres.

Here, which isn't which is an interesting take on the subject matter, because you're right, it could have. It could have just gone straight dark real quick and stayed there, and it's hard to get an audience back from that.

And I thought about it, I was like, nobody wants to watch that. You know, we need to also have some levity and fun with it. We need to be able. It needs to feel cathartic for people watching it.

Now, what are some of your greatest challenges about the process of making films?

Greatest challenges?

I mean on set, creative, dealing with Hollyweired, dealing with money Hollywood for sure, how does that work? Like, I just can't see you in a room with an agent talking about this stuff, like, no, it's Holleyweird.

Yeah.

I mean, I'm I'm an East Coast guy, so I've been out here. I've been out here for ten years, so I have a completely different perspective on living out here. I wasn't raised out here, so I see it and I've been around long enough to just go, yeah, this is hollyweird. But I just like, because so many times here in Los Angeles, people just don't get things that are outside the box. Where you live outside the box, you're not ever in the box. And any of the work that I've seen, so I would just love to

Yeah, I've been really into body horror lately.

I've been pitching body horror.

Idea body what is it? Body horror?

Body horror so like Horrorberg. Yeah, Oh, it does a lot of that right where it's like horror, but it's really like happening to you and to your body, very very.

I think Disney's involved. I think Disney you get involved.

Yeah, exactly.

It's really interesting and some people, you know, I just keep trying to remind myself, because you can try try to remind myself to like stick by my integrity, stick by my morals, just do what I feel is right and not get persuaded by these the hollyweird part of it, which is a lot of people who you know, you know, maybe they're even presenting you with like a shiny opportunity and it looks really good and you want to go there, right,

Is this me?

Like do I really want to do this? Like does this represent what kind of work I want to put out in the world? And I think that's so important. I mean, I'm lucky right now because my agents are actually really awesome, my managers as well, the people that I'm.

In touch with.

But I've circled, I've cycled through agencies, you know already, even in the like short career that I've had, already like jumped around to different agencies. So hopefully this is the one that I stay with like long term because I really like these people. And it's all about the relationships you know, that you're building.

And do you have any what's it like the greatest challenge of you like on set, Like, what's the biggest thing that you have to deal with on set? That is just a big challenge for you.

Collaboration, I think collaboration and always trying to be super clear with your vision like from day one because other people might not get it. Making sure you're on the same page. But it's always hard when you want to push. Sometimes it's hard to explain things right like in MFA, I like really want to push for a certain thing,

It is also like a huge.

Challenge sometimes how to get people to do what you really ultimately want out of it.

Oh yeah, I agree with you one hundred and ten percent of that hard, but.

You know you have to like make some sacrifices too. And I felt like in every project like that, it was like all right, you know, you get this, but then I have to keep I have to keep this sting.

The you know one thing trying to go I'm sorry, they're gonna in shorpt you No.

That's it just trying to find a compromise, like let's let's split up, like so we're both happy here.

I find that, you know, I've been you know, in my career, I've been challenged on set by crew people, by actors, by egos constantly. How do you deal with it? Because I could only imagine it being even more difficult, you know, being a female director, it's getting easier, and I can't say from my perspective, it seems like it's getting a little The doors are opening cracking just a slight bit more nowadays than they were twenty years ago.

It's like, yeah, I think it's it's a challenge. I think also I present, you know, I'm small, I'm like five four, I'm petite in size to you know, like Latin small woman and look and you know, people like don't it's and I'm also like I want to be really friendly with the crew, you know, I want everyone to feel good that they're here on set, but that sometimes that gets like misinterpreted and people think they can just yeah, and I've had to just turn you know,

That to someone, you know, oh yeah, absolutely, and yeah.

And then you call them out on their bullshit, they'll be like oh no, no, no, whoa, whoa whoa, like they'll snap out of it, you know. But I think it's always better to be super upfront and call it out, and even if that means having a super awkward conversation then to pretend like it's you know, to like go around to other people or pretend like it's not happening, or just be giving someone shady look.

Right, yeah, it's it's I feel sometimes it's like a prison yard, like they're going to test you to see what they can get away with. And season crew, season crew. If they don't respect the director, it's done any crew for that matter. But if a season crew like a season dp a season you know, gaffer and and a production designer. If these guys or girls don't respect you or think that they can pull one over on you, it becomes a very difficult shoot.

It's really difficult.

I've also had situations where, you know, I was working with like season men particularly who were like a lot older than me and who just couldn't even look me in the eye.

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Like they would be addressing my producer even though the question was to me, and it was so odd, right, and I just felt like I was like, I have to say something because it's so obvious that this person's uncomfortable that I'm in this position with them, right they came and look at me in the face, you know, and yeah.

You have to just I think the best advice is you just got to call them out on your shit, on their shit right away, because if you let it fester, it can actually grow as a cancer on the rest of.

The set, right and exactly, and all of.

A sudden, you've got a mutiny on your hands. And if you're on a ten day shoot, twenty days shoot, it's going to be hell and it's going to be tough to get them back.

So, you know what.

The other thing that makes me think of is just like I think sometimes too because people I've had so many people tell me like this is the right way to do it, right, and I'm like, what is the right way.

To do There's no right way to do anything. There's no right way to do it.

And just because like, yeah, I didn't go to film school, I don't know what the right way to do it, but this is the way that I want to do it because I think it works, you know, and having people let go of like their ideas of what is how it's supposed to go.

You know.

I'm not talking about like union rules or anything, just like forms of directing or putting things together. It's just challenging.

Well no, yeah, I had a conversation with the filmmaker the other day that, you know, he does all of his films improv. He does it the you know, Mark Duplus style, Joe Wamberg style, you know kind of work. And I gave the example of like, look, you know, if you give you know, Jason Jackson, Pollock, Van goh

Yeah, exactly.

Any you have to like push for what is your vision and your style, otherwise everything ends up the same.

And one piece of advice I got from a director, an old school director. I've never done this. I haven't had the balls to do it, but I think it would be fantastic to do it just as a gag the very first day on any set, nobody knows who you are, bring one of your friends on and fire them. Just bring they're just they're they're not supposed to be there.

That would totally set the tone that was terrify people.

You know, But I'm not sure if that's the vibe you want on set. But I've always wanted to do something I've never done. I've never had the balls to do it, but I think it would be hilarious.

That would be hilarious. That was so funny.

I mean, that's not my style, right, we want people to just get along.

Exactly like you know, Ron Howard's not doing that. You know, James Cameron.

Probably would maybe, yeah, I would.

It all depends on the style of directing that you do. So tell me a little bit about your commercial work. I see that you've gotten gotten into that world a bit.

Yeah.

So on the commercial side, I've been working with a production company called Humble and I signed with them earlier this year and it's been amazing, really good team there, and they've we've crafted you know, they've sent me like already to different parts of the world for different shoots. So I did a doc style shoot in India for Vans. We did a thing for north Face here and I actually just got back from Saudi Arabia to do another

Yes, I agree. I do commercials and series and stuff every once in a while between my features as well, So I completely understand what you're saying.

Yeah, so's it's been wonderful working with them.

So I'm gonna ask you a few questions. I ask all of my guests what advice would you give a filmmaker wanting to break into.

The business today, I would say, do you have to have a lot of grit and you have to really stick by what is it that you're putting out into the world. I don't think it's enough to just you know, here's like, oh, here's like an entertaining story. Like we live in a world where there's like a lot of change happening constantly, and I'm all about, like.

What are you saying with this?

Why does this deserve to be here in the world for people to watch, right, And just like don't give up.

There's going to be there's so many people that give up along the way.

You know, it's like there is just be patient and persevere and that's how you get it.

You know. It's like not.

People want a lot of like immediate gratification, and it's like you have to enjoy the journey too. I constantly keep reminding myself of that, like, yeah, I want to do this big thing, but it could take years.

I don't know.

I just have to keep going, but I know I'm going to get there.

You know.

I always love when actors or film directors or writers come to LAN and they go, I have a six month plan, right.

I would love for these things to happen in six months, but if they don't, then don't give up.

It's a minimum.

Well, you have to have the five year plan. I have my five year plan like every every and I reevaluate it every year. I'm like, Okay, here's where I want to be five years. What are the steps to getting there? Like here's this crazy big budget project that I've been wanting to do already for a few years, and I feel so strongly about it. I'm not going to give up on it. I'm just going to keep finding ways to get there. You know, having that like long term vision is really important.

Now, can you tell me the book that had the biggest impact in your life or career?

Well, I mean this is a hard question, just.

One book, But I once everyone comes to your mind, you know.

I think Rebecca Soulnett comes to my mind right now because I've read all of her books and I love her writing, and I feel so connected to her voice and how she thinks about the world. And it's just always like I've reread her books and it just always like opens up possibilities for me.

Awesome. Now, what is the lesson that took you the longest to learn, whether in the film industry or in life.

Confidence. I'm still learning.

It that you need that we need to have some.

That that the lesson being just like you gotta believe in yourself.

You know.

It is the lesson of believing in yourself. It's just like so easy to forget that your voice is important.

Now, what are the three What are three of your favorite films of all time?

Three your favorite films? Opayly think for a second. I'm gonna say I love the Piano.

That's a great movie. I love that movie.

It's a great movie.

I've watched that film a few times and more just like, oh so beautiful and there's so much emotion behind it. Holly Hunter is incredible.

I love oh the movies. This is hard. Wait, let me come back to it.

It could it could just be like, it's not gonna be on your gravestone, so just three of your favorites.

Don't put it on my gravestone.

No, No, it's whatever three movies come to your mind today.

Okay.

I loved Fish Tank. That's been like a film that I referenced a lot that was Relliant Love and dre Arnold. There's this filmmaker called Lucia Puenzo that did a film called x x Y.

Have you seen it?

Yes, yes, yes, I know that movie.

Yeah, I really like her work.

I thought that film was just so subtle and emotional and just a strong subject matter. Very cool, the same vein right now. Maybe that's just how I'm feeling in the moment.

It listened tomorrow.

I asked you this question, Yeah, something else exactly.

It's it's again, it won't be on your so don't worry. And where can people find you online?

You can find me on Instagram or Twitter or on my website, which is just my name Natalia elated dot com and I love to stay in touch with people.

I love to talk to people. I always right back, so unless you're sending me like a creepy comment.

So Natalia, thank you so much for sharing your journey and your process with us. And you are an inspiration too. I know a lot of filmmakers who are going to be listening to this, so thank you again for taking out the time.

Thank you so much, Alex.

I want to thank Natalia for coming on and dropping those knowledge bombs and sharing her process on how she brings her creativity to life. If you want to need links or trailers, or just want to watch some of the amazing work that Natalia does, head over to our show notes at Bulleproof Screenwriting dot tv. Ford Slash for nineteen. Thank you so much for listening to guys as always, keep on writing no matter what. I'll talk to you soon.

Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof Screenwriting dot tv.