Advice on filmmaking & creativity.

Should creative goals be big and spectacular?

Aim to do things regularly but actually smaller and more realistic rather than expecting everything to be spectacular. Chasing the spectacular becomes a trap, and letting things become too much of your identity is unhealthy—set realistic goals.

Should I take business advice from friends or acquaintances who aren't experts?

If someone offers strong opinions about how to run your business but isn't your accountant and doesn't know your actual profit and loss or balance sheet, take their advice with a grain of salt.

How do you build a team culture that doesn't punish mistakes and actually supports risk-taking?

Godin advises that if the only people who lose their jobs are those who make mistakes, you're teaching your team to avoid risk; to reverse that, leadership has to be willing to let go of someone who 'never makes a mistake' to prove that leaning into the creative process — not just avoiding errors — is what's rewarded.

How do you find your voice as a creative person?

Godin advises that finding your voice has nothing to do with authenticity; it means picking a genre, showing up with your craft, shipping work, learning, repeating, and building a consistent platform so people looking for 'someone who sounds like you' can find you.

What's a better way to think about 'doubling down' as a creator?

Josh reframes doubling down not as an all-or-nothing obsessive push at the cost of everything else, but as consistent focus and showing up with a regular cadence (daily or weekly) rather than chasing a dramatic launch.

How should you communicate dissatisfaction with a creative project without blaming the team?

Talk about it openly on the show/with the team rather than sitting on it, acknowledge your own role and triggers, and separate personal projection from legitimate feedback about the product.

Should you release creative work you're not fully happy with?

Yes — treat it as part of an iterative creative process; release it, be transparent about dissatisfaction, and use it to figure out what structure or changes are needed going forward.

How should creators think about copyright risk and 'doing things properly' when building an audience?

Zach suggests being too cautious (e.g., avoiding copyrighted music or trending formats out of fear of takedowns or looking derivative) can cost more in lost audience growth than the risk is worth — sometimes it's better to post something that might get taken down but gains followers than to have something pristine but unseen for years.

Why bother setting up a dedicated creative/hobby space?

Having a creative space readily accessible increases the odds you'll actually use it; even 30 minutes doing something playful like glue gunning can counteract the jadedness that comes from being busy and tired.

What do you do if you're unhappy with a piece of creative work you're about to publish?

Don't project your own dissatisfaction with the work onto the audience before they see it; the friction of releasing something you're not fully happy with is part of the process, and it's better to just publish and move on to the next one.

Should people in public-facing creative industries have mentors?

Michelle recommends that anyone working in a public industry have a mentor to maintain perspective, especially regarding audience growth and feedback, since mentors can normalize the ups and downs of building an audience.

How do you overcome overthinking or perfectionism when making creative work?

Ryan Shelton says the best approach is to just start, because overthinking lets you talk yourself out of an idea; actually doing it lets you prove whether it's good or not, and if it's bad you can move on, but at least you've tested it rather than stalling in your head.

How do you stay motivated to consistently finish and release creative projects?

Ryan Shelton sets public, time-bound deadlines (like releasing something every 11th of the month) because he responds to deadlines and expectation — if no one is expecting something from him he can too easily excuse himself from making it, so publicly committing creates accountability.

How do you deal with hating your own work right before releasing it?

Ryan Shelton explains that getting too close to a project makes you lose sight of the original excitement that made you want to create it, and instead fixate on tiny details others won't notice — recognising this as a normal part of the process rather than a sign the work is actually bad.

How do you stay consistent with a daily creative project when motivation varies day to day?

Tommy suggests that the feeling of doing creative work will never be identical day to day — some days you're pumped, some days you feel shit but still show up — and that recognizing this variability gives comfort on bad days and perspective on good ones.

How do you build confidence in following through on commitments?

Do the small things you say you're going to do and fulfil them consistently — it builds a kind of trust 'muscle' that compounds over time.

Why does falling short of a goal feel so disappointing?

High expectations that go unmet are the root of disappointment, so recognising your own expectation-setting can help explain frustration with creative or daily goals.

How should you give effective creative feedback to someone (e.g. a designer)?

Understand the person's process of how they arrived at the outcome before critiquing it; keep feedback about the work itself rather than making it personal, since creative people invest a lot of themselves into what they make.

How do you know if feedback is worth listening to?

Judge feedback by how much context the person giving it has about your audience and goals; someone who only knows how to use 'a hammer' will suggest a hammer even when you need a drill, so weigh feedback accordingly and lean on trusted people while staying open to outside feedback too.

How should I handle negative feedback on something I've created?

Notice your gut reaction to criticism and ask why you're reacting that way rather than dismissing it outright — if the feedback has merit, apply it next time; if not, let it go without taking it all to heart.

How do you avoid burnout or perfectionism when creating content consistently?

Treat each piece of work as a draft rather than a final, complete product; committing to a long-term consistent format (like a daily show) generates many iterations, which reduces the sting of feedback and prevents perfectionism.

How do you fund creative work without compromising your values?

Stacey June advises getting resourceful with income sources (events, online courses, coaching) that still resonate with your authentic interests, rather than taking jobs that feel like selling out, so you don't dip into your own pocket to sustain the creative work.

How should designers approach failure and perfectionism?

Strive for excellence but accept imperfection in process - test and fail quickly on purpose, get the bad ideas out of the way fast so better ideas can follow, rather than being paralyzed by the pursuit of perfection.

How can someone stay creative as they get older?

Try to see the world through a child's eyes, forget universal preconceptions you've learned, and don't filter honest reactions out of fear of upsetting others or offending social norms.

How should creators balance ambition with avoiding burnout or disappointment?

Keep your standards high (do the best work you can and feel good about it) but keep your expectations low about how it will be received or perform, so you can let go of outcomes without falling apart when things don't go as planned.

What makes for good relationships and partnerships?

Be radically honest with each other, admit when you're wrong, and focus on trust, genuineness, consistency, and respect — the same four things apply whether it's a romantic relationship, business partnership, or friendship.

How do you know if a creative idea is wrong before you've actually shot it?

Trust your gut feeling and speak up even if it risks pushback, since you're being paid to have an opinion and guide the creative direction.

How do you build long-lasting creative/business partnerships?

Prioritise patience and empathy, understand what your teammates are going through, and constantly look for ways to help the other people in the team rather than just worrying about your own contribution.

How should you find your role when working alongside highly successful collaborators?

Slowly figure out your own role by supporting the team's success while also carving out space for your own individual projects so it doesn't have to be exclusive—both can coexist.

How do you function well as an individual within a creative team?

Put aside purely individual goals, identify your specific strengths relevant to the team's needs, and practice generosity—try to make your teammates better/funnier rather than competing with them for the same spotlight.

What makes filmmaking footage feel professional and cinematic rather than lazy/rushed?

Don't be lazy — take the time to set up many thoughtful shots (20-30) rather than grabbing just a few quick clips of B-roll; plan ahead by scripting in your own voice and mapping what will be B-roll versus on-camera dialogue; overshoot for variety; and think like an editor while filming so you capture everything needed and don't frustrate your future editing self.

What's an easy way to put together a resume if you haven't needed one in years?

Keep your LinkedIn profile updated and use its export feature, which auto-generates a resume from your entered work history.

How should someone starting out in media decide what opportunities to take?

Say yes to almost everything early on since you lack leverage to be selective, but once established, only pursue what you genuinely want to do since passion tends to produce better work and results.

What are the core principles of lean filmmaking?

Start with a small collaborative squad using everyone's skills; invest in story before production value; be fan-first by treating the audience as the real boss; and prioritise doing over planning, then repeat a make-screen-adjust cycle.

How should parents approach supporting a creative child who isn't making much money?

Josh suggests parents need to dig around sensitively rather than bluntly asking if their creative child has a job or is making money, since that can feel discouraging; practical questions about rent and income are still important but need to be balanced with support for the creative pursuit.

How can a creative project be monetised without relying on direct sponsorship?

Treat the creative project and the underlying business as one connected entity rather than as separate 'give me money for ads' problem; engineer alternative revenue structures (e.g. running a video production business alongside the show) instead of assuming advertising is the only path, similar to restructuring a personal training schedule around a non-negotiable boundary.

How should creatives respond to criticism of their work?

Recognise that criticism of a piece of work is not a personal attack — the work can be bad without the person being bad, and accepting that distinction makes it easier to improve.

How do you generate better ideas when covering the same topic as everyone else?

Push past the reactive 'first thought' response to a topic and sit in the discomfort to find a second and third thought, which is where richer, more original content ideas tend to emerge.

How should you respond to people who don't understand or seem skeptical of your non-traditional creative career?

Recognize that people who've only known a 9-to-5 system often can't understand the complexity and joy of self-created creative work, so you don't owe them a full explanation; it's more productive to stay grounded in your own sense of purpose and direction rather than seeking their validation or getting defensive.

How do you support someone else's creative decision-making without imposing your own judgment?

Tommy suggests not judging someone else's way of thinking just because it differs from your own, and encouraging rather than directing a partner through their own journey/decisions.

Is it hypocritical to tell people to slow down while having achieved success through hard work?

The advice isn't universal — people who are already overworking need permission to slow down, while people who aren't working hard enough need the opposite message; the right advice depends on where someone is in their journey/runway.

Is it better to post content frequently or infrequently when building an audience?

Posting often early on helps build skills quickly, but once there's abundant competing content, it's more effective to slow down and make fewer, higher-quality pieces consistently over a long period rather than chasing volume.

Should I check my podcast/blog analytics regularly to improve performance?

Avoid checking metrics regularly because it can distort creative decisions toward chasing clicks; only review numbers when agents/publicists require it, and instead focus staff conversations on how to add value to the audience.

How should podcast hosts or filmmakers handle filming people who might not expect it?

Over-communicate with guests or subjects in advance about being filmed—mention it clearly (e.g., in the first email), explain what's off-limits, and avoid surprising them with a camera in the moment, since this preserves rapport and comfort.

How do you know when to act on a creative idea versus let it sit?

Most people have a problem letting ideas sit too long rather than executing too fast; if you combine your thinking time with working out what the idea actually requires, you won't need nearly as much time sitting on it before acting.

Should content creators follow algorithm/audience trends or just make what they love?

The algorithm isn't the audience, but the audience is increasingly shaped by it, so it's worth understanding without becoming beholden to it—refusing to ever consider what works can let ego get in the way, but chasing it purely for views risks losing authenticity.

How can you get more consistent viral/successful content ideas?

Having an external, strategic person suggest ideas or trends while the primary creator only pursues the ones that genuinely interest them could allow more frequent high-impact content without losing authenticity.

How do you get out of a creative block?

Do something — make something, create — rather than stepping away from the work entirely, even if the output isn't perfect.

Why does delaying finished work make it more painful to release?

Time is the fuel of fear: the longer you sit on a finished piece of work without releasing it, the more agony and fear builds around putting it out, so it's better to work in short sprints close to the deadline.

What's an effective way to grow a content/podcast audience from nothing?

Be consistent, don't overthink or over-edit content, release it even if imperfect, and build a back catalogue — early videos may get little attention but can be discovered and shared later; audiences respond to passion and authenticity more than production quality.

Is it safe to use iMessage voice messages around sensitive conversations?

Tommy warns that voice messages recorded via hold-to-talk in iMessage can accidentally send without clear confirmation, so be careful what you say near an open chat thread, especially with clients.

Should I be self-critical when starting something new, like a podcast or business?

At the very start, don't self-edit or be overly critical — you have to just keep moving forward because you don't know what you don't know yet; self-criticism and optimization should come later once you've built momentum.

How do you avoid projects dragging on forever with clients?

Establish a mutually agreed 'done' point and clear deadline at the start of every project, even if the client says they're 'easy' — create and communicate your own deadline to prevent endless revisions and cognitive load.

How should I approach writing a script if I find writing intimidating?

Don't force a rigid script format; instead identify the story beats (what happens), then layer in visual ideas and key lines of dialogue, mixing bullet points with mind-mapping; writing scripts isn't one fixed process and can include talking to camera first to find the words.

How should a creative business decide between doing everything versus specialising?

Early in a business you often need to do everything because you don't yet know where your real value lies; over time, as you gain wins and clarity, you should transition to saying no to work outside your specialty, even though saying no feels risky and uncomfortable, because niching lets you become distinctly valuable rather than easily replaced.

How do you know your value in a creative field and apply it strategically?

Recognise that your specific skill set (e.g. documentary-style storytelling) can be outcompeted in certain niches by less experienced people with trendier tools, so you should identify where your value actually shines and focus there rather than trying to compete everywhere.

What should I do if I keep using 'not having the gear' as an excuse not to create?

If the excuse is not having the gear, buy the gear if you can afford it so the excuse is gone — but watch out that you don't invent a new excuse afterward.

Why do constraints help creativity rather than hurt it?

Parameters define the 'game' you're playing and make success measurable — without constraints (like a soccer field with goals), you can't define what winning looks like.

How should you think about drone law compliance?

Apply logic and avoid being reckless (e.g., don't fly where a falling drone could hurt someone); follow the official aviation regulator's safety rules even if you're more relaxed about other restrictions like national park rules.

Should you lend out an expensive drone to friends?

Avoid lending your drone to friends because of how easy it is to crash and the awkwardness that would follow if it got damaged.

How do you keep growing as a person instead of staying stagnant?

Josh argues that radical changes to your environment — like travel, or major life events — are what actually cause people to develop and adapt, whereas people who avoid change end up 'basically where they were.' He suggests seeking out new 'bubbles' once you feel you've outgrown your current one.

Does being skilled at something guarantee success or 'winning'?

Tommy argues that technical skill alone doesn't equal winning — attention, audience engagement, and being known (as with artist Lush Sucks) can matter more than being the most technically accomplished.

How do you deal with an old unfulfilled commitment you feel guilty about?

Tommy advises simply contacting the person directly—say you remember you were going to do the job, and offer to return the money if they want it—rather than catastrophising the worst-case outcomes.