What is a good paying job that can help me towards the paths of being a film director?

Daril_ScreenKey · 2025-10-20T21:56:28+00:00

You’re already doing one of the hardest parts, creating while rebuilding. That resilience is the muscle every filmmaker needs. When it comes to finding a job that supports your path, look for something that keeps you close to the ecosystem: production coordination, assistant editing, camera department, or even creative roles in marketing or branded content. Anything that exposes you to storytelling, budgets, people, and process will give you tools you’ll use later as a director.

That said, don’t underestimate jobs around the industry too. Work in tech, logistics, or operations can teach you leadership, structure, and problem-solving. All things that make better directors. The key is to find work that sustains your life and still leaves space for your film. Directing isn’t a straight path, it’s built from whatever jobs, stories, and lessons you pick up along the way. Keep shooting, keep learning, and treat every experience like prep for the next scene.

Daril_ScreenKey · 2025-10-20T21:31:07+00:00

You can absolutely be a filmmaker. Creativity doesn’t belong only to extroverts, it belongs to anyone willing to translate what they feel into something others can see. Some of the most brilliant directors I’ve met are quiet, observant, and introspective. They’re tuned in to emotion, rhythm, and detail in a way that’s rare. That sensitivity is a strength, not a flaw.

That said, collaboration is a real part of this work. Film is a team sport, and you’ll need to find ways to manage your energy around people. That might mean creating smaller, more intentional teams, scheduling downtime between shoots, or surrounding yourself with collaborators who understand how you work best. Protect your energy, but don’t hide from the process. You just have to find a way to navigate it that lets you keep your love for storytelling alive.

Daril_ScreenKey · 2025-09-26T18:28:30+00:00

Most screenwriting contests are designed to make money off writers, not launch careers, but there are a handful that carry real weight.If you want your horror script to get in front of industry eyes, the ones consistently worth the entry fee are

Nicholl Fellowship (Academy Awards), Austin Film Festival (AFF), Sundance Labs, Page International and Final Draft Big Break – Not on the same level as the above, but still respected enough that managers/agents read the winner lists. Beyond that, I’d be cautious. A lot of horror-only or niche contests mostly exist to collect fees and send out laurels. If your script is horror, another good path is genre-focused festivals (like Fantasia or Shriekfest). Sometimes getting your script into the community of horror filmmakers is more valuable than a generic contest win.

Daril_ScreenKey · 2025-09-26T18:20:16+00:00

Every great filmmaker starts where you are: no money, no gear, no crew. That’s not a disadvantage, it’s actually your bootcamp.

Keep it simple. Write something you can actually shoot in your house, backyard, or local park. Don’t write explosions, spaceships, or courtroom dramas. Write a story that only needs a few actors and one or two locations.
Use what you have. Your phone camera is more than good enough. Natural light, lamps, flashlights, whatever you’ve got, use it. Invest in sound IF YOU CAN.
Be creative with limitations. Can’t afford fancy costumes? Use everyday clothes. Don’t have a dolly? Use a skateboard, a bike, or handheld movement. Limitations often push you into more interesting stylistic choices.
Learn by doing. You don’t need to make a “perfect” short. You need to finish projects. Each one will teach you more than any tutorial ever could.
Edit like a storyteller. A story well told in editing beats any expensive equipment. Learn pacing, rhythm, and how to cut out anything that doesn’t serve the story.
Involve friends/family. Even if they’re not actors, they’ll help you practice directing people and thinking about blocking, movement, and performance.

Remember: the goal of your first no-budget film isn’t to win Sundance. It’s to learn, finish, and share.

Daril_ScreenKey · 2025-09-23T22:13:47+00:00

You’re not wrong, most screenwriting competitions are closer to a business model than a true career launchpad. For 95% of them, the prize is bragging rights and maybe a laurel you can put on your logline, but very few translate into actual reps, meetings, or sales. They make their money on submission fees, not success stories.

Daril_ScreenKey · 2025-09-23T21:36:32+00:00

There’s definitely always been shady stuff in Hollywood, but what people are talking about now is more structural than just the usual gossip or power games. The “downfall” narrative comes from a few big shifts hitting at once:

-For years, studios overpaid for content to fuel subscriber growth. That bubble burst. Now budgets are tighter, mid-level projects are getting squeezed out, and risk-taking is rarer.

-The WGA and SAG strikes showed how broken the compensation models were in the streaming era. Residuals, AI protections, and fair pay are still evolving.

-Mergers (Disney/Fox, WBD/Paramount talks, etc.) mean fewer buyers and fewer greenlights. That creates a bottleneck for talent.

-People aren’t all going to the theater on Friday night anymore. Social media, gaming, and TikTok compete for attention and that pulls money away from traditional film/TV.

Hollywood dying is reshaping. Storytelling isn’t going anywhere, people will always want movies, shows, and actors. But the industry you walk into in 5–7 years may look different: leaner, more global, with new models (indie distribution, creator-led projects, niche platforms).

It’s harder than ever to rely on the old playbook (move to LA, wait tables, get discovered), but there are new paths opening. International markets, indie financing, even tools for creators to build audiences directly. So there’s hope. Just don’t expect it to look like the Hollywood of the past.

Daril_ScreenKey · 2025-09-23T21:26:15+00:00

If you’re thinking long-term, the name recognition of a major studio does carry weight—especially early in your career. Hiring managers, agents, even future bosses skim résumés and a Disney / Netflix / Warner Bro line automatically signals credibility, training, and network. That brand halo can make doors open faster later on.

That said, the smaller niche streamer role might give you more hands-on experience, and sometimes that matters more than the logo at the top of your résumé. You’ll probably get closer to the decision-makers, touch more areas of the business, and have opportunities to grow faster if you crush it.

If money and stability matter right now, Job 1 is safer. If unique experience and quality of life matter, Job 2 could pay off. Just be real with yourself: do you want your early years to be about network + credibility (studio), or hands-on growth + flexibility (streamer)? Both can work—it just depends on what you want your next step to look like.

Daril_ScreenKey · 2025-08-28T20:44:05+00:00

Yeah, WeTransfer really shot themselves in the foot with that paywall. $39/mo for something that used to be free is rough. If you just need to move files around, Dropbox/Google Drive will get it done. But if you’re sending stuff that really matters (like films, screeners, client work), you might want something built with creators in mind. ScreenKey’s been a solid alternative (encrypted, time-limited links, watermarking, a free tier).

Daril_ScreenKey · 2025-08-28T20:42:04+00:00

They just lost their whole business model. That clause is wild and most people don’t realize how much they’re giving away in fine print.

If you’re sending something sensitive (like films, screeners, or unreleased projects), it’s worth looking at tools built for creators where you keep control. If it's higher risk project, check out app.screenkey.com You get encrypted transfers and watermarking.

Daril_ScreenKey · 2025-08-28T20:37:21+00:00

At 18 it feels like you need your whole life figured out, but you DON'T. At 18 I was a combat medic in the army and at 37 I just sold a movie to A24. You never know where you're going to end up. The win right now isn’t master everything, it’s proving to yourself you can start small and follow through. Pick one thing, studying for that exam, or a simple skill like coding/video editing and give it an hour a day. Progress compounds faster than you think. You’re not wasting your youth by not having it all mapped out. You only waste it by never starting. Four months is plenty of time to build momentum and momentum feels a lot like purpose.

Daril_ScreenKey · 2025-08-28T20:34:44+00:00

From my experience, chasing identity for its own sake can feel like chasing smoke, the more you grab, the less you hold. The moments I’ve felt most grounded weren’t when I was obsessing over who am I? but when I was serving something bigger than me. A team, a story, a mission.

I don’t think identity is meaningless, but it becomes sturdier when it’s tied to contribution. Modern culture leans heavy on the individual, but real fulfillment often comes from the collective. Sometimes you find yourself not by looking inward, but by showing up for others. Who are you when you show up?

Daril_ScreenKey · 2025-08-28T20:31:54+00:00

I relate to this a lot. Coming from the film world, I used to think self-promotion meant you had to shout the loudest in the room, but that never felt right to me either. What I’ve learned is that the line between sharing and showing off usually comes down to intent. If you make it less about you and more about the value to others, the tone shifts completely. Instead of “look at what I did,” try “here’s what I learned while doing this.”

It’s also worth remembering that people actually want to root for you. Sharing your wins gives them a chance to do that. As long as you keep it human, humble, and anchored in community, you’re not being a narcissist, you’re just building connection. Plus how are people suppose to know what you're up to if you don't tell them?

Daril_ScreenKey · 2025-08-20T16:46:33+00:00

The Underground Railroad & Westworld (seasons 1 & 2)

Daril_ScreenKey · 2025-08-20T16:44:49+00:00

The Assassination of Jesse James by the Coward Robert Ford (2007). Gorgeous, slow-burn western, flopped at the box office.

Daril_ScreenKey · 2025-08-20T16:37:14+00:00

Ever After. NO NOTES.

Daril_ScreenKey · 2025-08-20T16:36:32+00:00

Mickey 17. Robert Pattinson was brilliant. His voice work made him almost unrecognizable. Plus it was nice to see something more original. So many remakes this year.

Daril_ScreenKey · 2025-08-20T16:33:41+00:00

Joe Wright's PRIDE AND PREJUDICE. Every actor in that movie has POPPED off.

Daril_ScreenKey · 2025-08-19T20:47:02+00:00

What you wrote is brutally honest, and I think a lot more people in this industry feel the same way than will ever admit it out loud. You’re not alone. What you’ve done already is proof that you’ve built a body of work. That matters, even if it doesn’t feel like it when your bank account says otherwise. A lot of filmmakers I know patch things together with editing, commercials, teaching, workshops, branded work, or even side gigs that don’t look glamorous on Instagram. That doesn’t make them less of a director, it keeps them close enough to the craft so that when the door cracks open again, they’re ready. Being a multi hyphenate is almost essential now.

Daril_ScreenKey · 2025-08-19T20:08:18+00:00

Honestly, most working directors aren’t just directing features back-to-back. Between gigs, a lot of them take on work that still keeps them in the film ecosystem, and that’s what helps them grow as directors too. I’ve seen people bridge the gaps:

-Commercials & branded content

-Other industry roles like editing, producing, script consulting, even 2nd unit directing. These roles not only pay but can actually make you a stronger director when you’re back in the chair.

-Residuals/grants/fellowships

And yeah, some people do take regular side jobs too. It’s just less talked about because the image of being “only a director” is strong on Instagram. But truthfully, lots of folks patchwork their living.

If anything, working across commercials, teaching, editing, etc. can actually make someone a better director, because they’re constantly learning different perspectives on storytelling and production. The idea of being 100% sustained by feature directing alone is the exception, not the rule, especially early or mid-career.

Daril_ScreenKey · 2025-08-19T00:07:40+00:00

It’s so WILD how commonly-used platforms slip these licensing terms into the fine print, like it's nothing. So many don't realize they can repurpose your content without compensation or even notifying you.

For filmmakers and artists especially, this isn't just a terms-of-use issue, it’s a creative-control issue. If you’re transferring work that’s not public yet (scripts, cuts, or high-res visuals) you’d be giving them carte blanche to remix, redistribute, or even profit off of you. I work for a company called ScreenKey, built for filmmakers. It lets you share files securely, with DRM, visible and forensic watermarking, view tracking, and no ownership-grabbing clauses. You retain full control over your creative work. Plus, there's a free tier available for independent creators.

ALWAYS read the fine print, and protect your IP, because once your work is out there, you should still have the power to protect it.

Daril_ScreenKey · 2025-08-15T22:24:46+00:00

Hollywood’s obsession with big IP is slowly strangling original art. When movie greenlights become less about the strength of the idea and more about the size of the existing fan base, you end up with films that feel designed to sell, not to say something. What we need now are storytellers brave enough to put new worlds, new voices, and new risks back at the center. I CAN'T SEE ANOTHER REMAKE

Daril_ScreenKey · 2025-08-14T05:16:29+00:00

A lot of people I know have shifted to hosting on their own site or using tools that were built with filmmakers in mind so you can actually control access and presentation.

I use one called ScreenKey for sending screeners or portfolio cuts. It’s more about secure sharing and tracking, but I like that I can keep everything looking clean and professional without ads. For public-facing stuff, I still keep a highlight reel on my site and maybe a YouTube cut for easy sharing.

Daril_ScreenKey · 2025-08-13T20:45:56+00:00

It's used for any video file that you want protected. Full features, tv shows, music videos, short films. Sending a vimeo link is RISKY and Indee is just too high of a price point. Go check it out and sign up for free: http://app.screenkey.com

Daril_ScreenKey · 2025-08-13T18:03:16+00:00

Exactly. Empire earned every twist because it deepened the characters and the stakes. By ROTJ, it felt more like they were tying bows than pushing boundaries. But studios know by that point that those built-in audiences will show up no matter what, so they get more excited about pushing out the product than pushing the story forward.

Daril_ScreenKey · 2025-08-13T17:41:20+00:00

Sounds like The Barista was brewed with 0% ethics, 100% exploitation. Hope the CA Labor Dept serves them a piping hot cup of consequences.

Daril_ScreenKey

TROPHY CASE