How important is entrepreneurship to creating a better world? So important that the White House bet $1 billion in private investment to promote it, half of which will go to promising young entrepreneurs like Kirk-Anthony Hamilton (M.Arch., 2010; B.F.A., architecture, 2008), founder of the Infiniti Partnership. In advance of the 2015 Global Entrepreneurship Summit in Nairobi, Kenya (July 25-26), President Obama recognized Hamilton as one of 75 emerging global entrepreneurs to watch. The panelists from ABC’s Shark Tank joined the White House celebration of these promising young leaders. 

Here are seven tips as told to the honorees by Mark Cuban, Barbara Corcoran and Daymond John, and passed on to us by Hamilton:

• Be obsessed with your business and love what you do. Money isn’t success. Entrepreneurs should aim to create value.

• The best entrepreneurs are those who respond well when the chips are down. Great entrepreneurs are those who have had to reinvent themselves.

• Invest in what you know. When pressed on his thoughts on investing in Africa, the Middle East or China, Mark Cuban said he doesn’t go after opportunities he doesn’t understand.

Good things happen if you keep on grinding. — Mark Cuban.

• Learn to say no. You cannot be everything to everyone.

• It’s ok if you don’t know the next steps. It’s ok to screw up. (Mark Cuban’s mom was so worried he wouldn’t make money that she encouraged him to learn to cut carpet. Now he's a billionaire.)

• It takes sacrifice. (Daymond John and his mother mortgaged their home for $100,000 to get the FUBU brand going.)

• Stop waiting for that perfect moment; it’s not going to come. There isn’t a point at which everything just clicks and it’s smooth sailing. If that’s what you’re searching for you’re in the wrong space.

For Hamilton, the seeds of entrepreneurship were sown in his home of Jamaica, where he grew up fascinated by designer homes, global travel and the power of influence. After studying architecture at the Savannah College of Art and Design, he became an investor, World Economic Forum Global Shaper and architect of opportunity. Hamilton used his social capital and creative experience to co-found a private investment firm in Florida, which focused on digital media acquisitions and eventually became the Infiniti Partnership. He later co-founded The Destination Experience, which connects decision makers with a network of ideas, people and opportunities through "social discovery experiences." So far, the most successful result to come from the initiative is a $90 million film project led by business titans Michael Rollins and Arthur Wylie and set in Jamaica.

Hamilton says he owes it all to something he calls 'creative confidence.' He’ll speak on the subject at SCAD in October. Look for more information soon from the Office of Career and Alumni Success.

Like many Americans, Asher Bingham (B.F.A., film and television, 2007) breathed a sigh of relief when the Supreme Court announced its decision to strike down laws prohibiting same-sex marriage. For her it was personal. The editor of the documentary The State of Marriage — a David and Goliath story directed by Jeff Kaufman about the legal pioneers who paved the way for the landmark ruling — Bingham had a front row seat to history. Eight years before she graduated from the Savannah College of Art and Design, Vermont became the first state to recognize same-sex unions. With The State of Marriage, Bingham and the crew bring the making of this watershed moment and legal precedent to life. Here’s Bingham on the documentary and what she learned from Mary Bonauto, one of the film's protagonists and a pivotal figure who argued before the Supreme Court.

SCAD: How did you and The State of Marriage team react to the Supreme Court decision?

AB: After hearing every story and all of the heartfelt testimony about the immense discrimination, not only for the couples that wanted to get married but the politicians who stood up for the rights of everyone, it felt like a weight that had been looming over everyone had been lifted.

SCAD: How does it feel to contribute to a project with profound historical importance?

AB: When I was reading through The State of Marriage script it started in the 1980's and carried the torch literally across decades to a (spoiler alert) final victory. I knew it could be a fantastic story to tell. I knew it was special due to the couples and their insight. We really wanted to show each of them and their personalities, and also honestly portray all of the groups and individuals coming in and out of the story, including the opposition. They would have been easy to demonize and dramatize for story, but we had to maintain their true beliefs and truly document all opinions so that this piece would stay elevated above mere entertainment. It did and I feel it's a blessing how it turned out.

SCAD: Is there a piece of video or other archival material that stays with you?

AB: Jeff would tell me, 'You know, sometimes the best bits come in at the eleventh hour.' We were sitting there scratching our heads trying to figure out a way to make the ending more emotional. So we hit a fine cut, I'd say super fine cut, and then he got a call. A guy he was hunting down for footage was finally sending us a drive, but who knew what was on it. It showed up at my house.

Scrolling through randomly named raw files and folders, I stumbled on a shot we used in the finale and the hairs on the back of my neck stood up. It was footage of the final vote and the 1999 Vermont Supreme Court ruling that includes our protagonists crying. These are some really strong women so that was a magical find. —Asher Bingham

SCAD: What did you learn from the main characters Susan Murray, Beth Robinson and Mary Bonauto?

AB: Never give up and never settle for less. As typical as that sounds, it is true. And out here in Los Angeles trying to get into the film industry that is branded on my heart. Literally everyone was against these women, and even though they were burned out and exhausted they still pushed and pushed for years. They had full-time jobs and then fought on the side with everything they could. Greatness is easy to dream about but exhausting to achieve, and they did it. 

SCAD: What challenges did your team face and how did you overcome them?

AB: For the director and producer, their biggest challenge was getting access to both sides of the fight and telling this two-decades long saga with energy. When I came on, I was handed a script and a ton of drives. The biggest challenge was balancing lawyer-speak with emotion. Everyone was saying wonderful things, but you can't just throw great soundbites back to back on a sequence or they will lose their power pretty quickly.

SCAD: What editing techniques and devices did you use?

AB: I tend to be very straightforward with my editing. I use images and sound design to influence what I want to get across. I tend to hate gimmicky editing — no post slomo, no freeze frames — and even limit the use of cross dissolves. The best editing technique is to get your hands on great footage. The DP handed me some wonderful stuff, so I could just play with it and try to make it sing.

SCAD: Did you approach this project in a way that’s different from your other work?

AB: The subject matter doesn’t change the way I approach a project; the way it's filmed does. For each film I try to watch as much of the raw footage as I can before picking a style or feeling to approach it with. For this it couldn't just be about lawyers in a room, because Jeff and the DP brought so much bucolic b-roll of Vermont to the story. They wanted the state to be more than just a backdrop, almost a character. So after 15 hours of seeing the state in all different seasons and locations, the feel for the film just came out.

SCAD: What is the greatest lesson or message from this film?

AB: Hopefully, just stay true to what you believe in and also be willing to help others. It doesn't often feel like it, but there are really some amazing people in the world, even the ones you perceive to be the opposition. Maybe they'll surprise you.

SCAD: Do you feel a responsibility to use your craft to tell important stories?

AB: I would like to say yes, and that responsibility is what drives me, however, I operate a bit more selfishly. In reality, passion is what drives me. I love telling great stories. I am in the game just to emotionally move people, and it doesn't necessarily mean it has to be culturally relevant stories or pro humanitarian stories. I want to make people feel and gain their own opinion with the projects I make.

SCAD: What made you want to be an editor?

AB: Probably my second year at SCAD I realized I wanted to be an editor. I tried one directing class and found it miserable (I'm kind of anti-social, so having to beg friends to help was a killer), and I've always had a skill with computers and images, so it was an easy transition. I still remember sleeping under the Avid on a few overnights before finals.

SCAD: Who was your favorite professor at SCAD and your best lesson learned?

AB: I would say BJ Sears was my favorite. He was great fun and always emphasized less on technical skills and more on what the images back to back say to you.

Bingham is currently editing a documentary on journalist Franca Sozzani, editor-in-chief of Vogue Italia. 

Meredith Sutton (B.F.A., jewelry, 2003) is the quintessential local artist. After graduating from the Savannah College of Art and Design, the North Carolina native set up shop in Savannah where she has been making jewelry ever since. But her success isn’t confined by geography. CFDA Menswear Designer of the Year Michael Bastian saw Sutton’s jewelry on Instagram and asked her to be the exclusive jeweler for his runway show at the inaugural New York Fashion Week: Men’s (July 13-16). Sutton’s signature polo cuff bracelet caught Bastian’s eye, but she has since sent him dozens more pieces — including a belt he commissioned — to be paired with his luxury menswear and select looks from his new womenswear line, debuting on the same runway. Why was Bastian drawn to Sutton? She suspects it’s because her work is the antithesis of mass production. We interviewed her for more insight on this social media-brokered connection.

 

Mens #brassstrapcuff paired with #polocuff @mbastiannyc

A photo posted by @meredithannesutton on

Jul 7, 2015 at 5:47pm PDT

SCAD: What inspires your work?

MS: My current body of work uses a lot of brass. It started a few years ago when silver prices were really high and I started looking for alternative materials to work with. The transition took place right after I created a series of cuff bracelets inspired by ariel views of spaghetti junctions called highway series. All the pieces were one-of-a-kind and fabricated in sterling silver. The popularity of them drew me to find new materials to work with to make them more cost-effective. I stumbled across a rack of brass rods and strips at the hardware store one day, grabbed a handful and took it back to my studio to see how it would work. Brass has become a staple in how I form new projects and designs.

SCAD: Describe the challenges and opportunities for local makers. Are jewelry designers like you experiencing a boom in business?

MS: I think right now there is an emphasis on and renaissance of hand-crafted, locally made work. Social media played a big part in this particular collaboration. Michael Bastian discovered my work through my Instagram account and reached out to me. Right now artists and designers have more outlets available to promote their work and can create an online gallery through social media. I don't know if there is a boom happening, per say, but I hope that other makers are experiencing growth because a lot of hard work and dedication goes into creating your passion.

SCAD: What have you learned from Michael Bastian?

MS: His respect for makers and nurturing creativity has stood out most. It’s not about what I have necessarily learned from him, but what I've recognized as a designer working with him. He has allowed a great amount of creative liberty with the work I have produced for the show. This really inspired the collection.

SCAD: SCAD jewelry professor Nell Keyes is one of your mentors. What is a key piece of advice she has given you?

MS: It’s really hard to pick one piece of advice because she has given me so much over the years. Ever since I graduated from SCAD she has been an incredible source of support.

SCAD: What will you be looking for on the runway?

MS: Flawless models wearing flawless MB garments accented with my jewelry.

It’s not easy to forget the finale to SCAD Commencement, Will Penny’s (B.F.A., painting, 2008; M.F.A., painting, 2013) goal exactly. With his spectacular interactive installation that seemed to envelope the graduates, the artist succeeded mightily at creating a memorable send off for the Class of 2015.

Here’s a glimpse of that moment from the graduates' perspective and Penny on creating this digital feast for the senses:

“The commencement backdrop was made primarily in Adobe After Effects using several different 3D content plugins. A lot of modeling was done in Rhinoceros as well.

Having witnessed commencement ceremonies in several capacities — as a guest in the stands, as a student on the floor and as a speaker on the stage — I tried to think about the space as a whole, which led us to creating the projection mapped content.

The commencement backdrop consisted of a series of computer-generated vignettes designed to create a heightened sensorial experience. The physical space of each ceremony — the Civic Center in Savannah and World Congress Center in Atlanta — was augmented with digitally constructed content predicated on the dichotomy of virtual and physical modes of perception. Form, color and sound were carefully choreographed to expand and unfold through the duration of the ceremony. As a whole, I intended for the content to indirectly symbolize the diffusion of unbound potential and possibility held within the graduating class of 2015.”

As of now, the work remains untitled. Known as “the Wow moment,” we think the nickname for the digital masterpiece sums up Penny's efforts perfectly.

In an increasingly global society where digital connectivity dissolves physical boundaries and opportunities to encounter the unfamiliar abound, design needs people like Tara Headley (M.F.A., interior design, 2015, B.F.A., interior design, 2012).

The International Interior Design Association’s Student of the Year, Headley left Barbados in 2008 to attend the Savannah College of Art and Design. Her undergraduate capstone project was a Caribbean cultural center for second-generation Caribbean immigrants. Garnering the Chair’s Award for the “Most Outstanding Senior Project” at SCAD and a 2014 and 2015 IIDA Best of the Best Award for “Innovation in Design” and “Social Relevance in Design,” Headley’s work struck a chord.

It’s very relevant to the conversation now in interior design how you can showcase human rights and peace and culture within buildings. — Tara Headley

It’s not hard to detect Headley’s West Indian accent, which she emphasizes in some circles and softens in others. It’s a sign of her cultural receptivity, something that dominates her approach. “I don’t think my culture influences my work in the sense that I bring a Caribbean perspective; it influences it in the way that, since I am from another culture, I am sensitive to other cultures,” Headley said.

The National Center for Civil & Human Rights in Atlanta is one of Headley’s favorite buildings and a primary source of inspiration. She takes cues from how The Center and places like the 9/11 Memorial and the Holocaust Museum not only effectively convey facts and figures, but trigger emotions. David Mandel, The Center’s director of exhibitions and Headley’s mentor, served on the committee for her thesis project, The Iraqi Center for Peace and Cultural Understanding.

As with The Iraqi Center, Headley’s intention to promote a holistic understanding of cultures frequently portrayed in a one-dimensional context shone through in a class project that involved plans for a casino infused with references from Tuscaroran Native American tribal culture.

I think that everyone’s push to move to contemporary design is hindering people’s cultural sensitivity somewhat. — Tara Headley

The ability to promote cultural understanding and authenticity is an asset to international hospitality design firms like Hirsch Bedner Associates, which hired Headley as an intern. Her projects for HBA included hotels in Dubai, Turkey and China. She’ll continue her mission to make the world feel more accessible at HBA’s Atlanta office this summer. Her first stop, though, is Chicago, Illinois, where she’ll accept the IIDA’s inaugural Student of the Year Award at the organization’s annual meeting and make contacts that could bring her work closer to you.

Zach Prengler (B.F.A., film and television, junior) was several months from being born when Jurassic Park hit theaters in 1993. Fast forward two sequels and 22 years and the release of Jurassic World has the Savannah College of Art and Design film student giddy. Not only will Prengler be among millions of people to see the summer blockbuster, he’s in it. It was all in a days work for Prengler, a production assistant. Joining him on the Jurassic World crew were the following SCAD alumni: prop master Lauren Stewart (B.F.A., film and television, 2007), lead creature TD Jacob Buck (B.F.A., visual effects, 2007), and Steve Bevins (B.F.A., visual effects, 2013), hired by Lucasfilm after the production company visited SCAD. Look for all their work and read on to learn the scene where Prengler makes his big-screen debut.

SCAD: Congratulations on the release of Jurassic World. How did you land the PA gig?

Zach Prengler: Connections. Connections. Connections. You never know how networking works until it works. I joined the crew before they arrived in New Orleans, Louisiana. They were setting up the office and prepping for the crew to arrive from Hawaii. 

SCAD: What role did you play? Is there a contribution of which you’re most proud?

ZP: I was the walkie gofer. I was in charge of 400 walkies. That was the way each department communicated with each other. So I'm proud that I connected the departments to each other daily. Other than walkies, I was in charge of picture-sound lock-ups, to make sure nobody talked or walked through any shots. My nickname came quick, actually day one. “Pringles.” I adopted it and everyone on set knew me as both Zach and Pringles.

SCAD: Describe what it was like working on the set of what’s sure to be a summer blockbuster.

ZP: The set was outrageously cool to be on. We filmed on location in New Orleans. The Main Street of Jurassic World was so elaborate and totally amazing to walk around. They renovated the abandoned Six Flags to recreate the park. Walking around each location we built felt so real. It was a very eerie place, especially after a dinosaur attack.

SCAD: Was it inspiring to work for director Colin Trevorrow, a relatively unknown talent?

ZP: Colin is the best. Seeing him work was amazing. It taught me a lot. There were various occasions when he would tell me the shot we were working on and point out why he chose to do it the way he did. He is an inspiration. He always kept his cool and handled business efficiently. He was a very down-to-earth guy who spent a lot of time connecting with the crew.

SCAD: What’s your favorite scene in the film?

ZP: My favorite scene was the raptor sequence. One of the shots is Chris Pratt letting the raptors out of the cages. They had me behind the gate kicking it like a raptor would be eager to escape. Then the doors would fly open, similar to a horse coming out of the starting gate. Raptor Arena was one of the locations we shot at. It was very cool to see the stunts performed on set.

SCAD: What do you want audiences to understand about how huge movies like Jurassic World get made and the work that goes into them?

ZP: Nothing is easy. It takes a lot of planning and preparation. This film was planned out for years. A lot of voices were involved in the making of Jurassic World. Everything is handled delicately. The big differences between these big films versus small films are the actors and the budget. Most things that were needed and came up were purchased under the permission of the producers. But the budget really helps bring out the production value that you see on the screen. Pat Crowley and Frank Marshall are top-notch producers and were great to work for.

SCAD: What’s your dream job?

ZP: Producer-director. I’d love to produce big budget motion pictures. That is the dream and the current goal I work towards daily.

SCAD: Any other anecdotes that we should know?

ZP: They put me in the movie. I was brought back to make-up and wardrobe on a moment’s notice. They dressed me up and when I got to set explained that I would be a Samsung employee showing kids the classic “Mr. DNA” from the first movie. The scene comes five to ten minutes into the movie in the Innovation Center. 

Prengler's production credits also include The SpongeBob Movie: Sponge Out of Water, Deepwater Horizon, and American Idol.

Rare projects require rare talent. To make the documentary Ovation for Oscar: An Exhibition at SCAD Museum of Art − about the first posthumous museum tribute to Oscar de la Renta − Savannah College of Art and Design chose one of its own. Leading a team of students and alumni, including his business partner, producer Tyler Reid (M.F.A., film and television, candidate), director Ryan Curtis (B.F.A., film and television, 2013) approached his first fashion documentary the way he does everything: with an eye for fresh original content. That’s what surf photography and music videos - Curtis’ prior subjects - have in common. Another first for Curtis: attending Cannes Film Festival, where Ovation for Oscar premiered. We caught up with him as he arrived in France.

SCAD: Congratulations on showing at Cannes. You have a diverse portfolio. How did your experiences contribute to your approach to Ovation for Oscar?

RC: Music videos are almost always utter chaos, in a good way. The level of creativity is super high, but the resources aren't always there. In surf photography you are 110% reliant on the weather and surf conditions, all the stars need to align in order to get a good shot. My experiences have taught me extreme resourcefulness and tenacity in any project.

SCAD: How is Ovation for Oscar similar or different from your previous work?

RC: This project in particular is very exciting, mainly because we are constantly surrounded by creative people, and the level of collaboration is unparalleled. Production and post-production were very fluid, totally unscripted, and we had to maintain the ability to change direction at any given moment.

SCAD: How did it help or challenge you to not have a fashion background?

RC: This is my first fashion documentary, but I have produced fashion films. I produced one for designer Julian Robaire while I was at SCAD, and when I graduated I worked on one for Globe Skateboards, and music videos sponsored by Hood By Air. I also took an intro to fashion course at SCAD, which taught me respect for the design process. I performed miserably, but that course taught me to truly appreciate the work of Oscar de la Renta and everyone involved in the exhibition process.

Fashion films are kind of the new frontier. Like music videos, there aren't any true rules, which is very exciting. - Ryan Curtis

SCAD: How does this documentary follow current trends in filmmaking? How is it different?

RC: This is essentially long form branded content, but what makes it different is the fact that it's totally unscripted and honest.

SCAD: Who did you have in mind on set? Who is the audience for the film?

RC: I think the audience is young people who are interested in the arts and fashion. I want this documentary to inspire people to put themselves out in the world and to get out of their comfort zones to fully realize their potential.

SCAD: What are you hoping to achieve at Cannes?

RC: It has been eight hours so far and I love it. The screenings alone are amazing, but entertaining people is even better, better yet, finding distribution. Networking is an extremely important part of anyone's career, especially in film and television. You never know what can come out of a conversation.

SCAD: What do you hope the world will learn about Oscar de la Renta because of this film?

RC: Oscar de la Renta is a name synonymous with kindness. He really was the ultimate gentleman. This exhibition carries on his tradition of teaching and philanthropy, and that's what we wanted to convey with this film. SCAD truly supports the next generation of artists and designers, something it shares in common with Oscar de la Renta. So if anyone is looking for the perfect incubator they don't have to look further than SCAD and Oscar de la Renta.

In today’s world of sophisticated gadgets and apps, simpler tools like chalk and cement wouldn’t seem capable of producing a wow moment. Yet 34 years after its start, the annual Sidewalk Arts Festival (April 25) still draws a mesmerized crowd and creates the rare occurrence of gridlock in Savannah.

Among the chalked-up squares festival-goers have marveled at over the years are those belonging to Troy Wingard (B.F.A, graphic design, 1992). This year marks Troy’s 30th festival in a row. He was 15 when he entered his first Sidewalk Arts contest, one in a group of high school students ferried to Savannah from Lexington, South Carolina by art teacher Marion B. Mason.

1987 Sidewalk Arts Festival (from left to right): Cecil Davis, Anthony Hightower, Doug Gregory, Troy Wingard, Marion B. Mason, Joe McClendon, Scott Kirchner and Matt Mossholder. 

After a long, hot day of drawing on the sidewalk in Madison Square, we were filthy, tired and hungry, but we were hooked. - Troy Wingard

That marked the beginning of a long tradition. The students, who came to call themselves the Lexington Art Council, continued to return to the festival, which eventually moved to Forsyth Park. Meanwhile, they grew up and became convinced their artistic inclinations were more than a hobby. "To see a college based around different art programs blew our minds," said Wingard. It was like we had died and gone to heaven. Everyone who was there was interested in making art."

1993 Sidewalk Arts Festival (from left to right): Scott Kirchner, Stan Jennings, Julie Buffington, Hap Proctor and Troy Wingard.

1994 Sidewalk Arts Festival: Troy Wingard.

Mr. Mason did more for Wingard and the Lexington Art Council than introduce them to a fun spring affair. He taught them how to take themselves and their art seriously. It didn’t take long before the group was debating what they should draw for the entire two-hour trip to Savannah. “Sidewalk Arts became the tradition that proved we were all best friends," said Wingard. "You don’t know somebody until you’ve worked with them.”

Finally, in their 11th year, they won an honorable mention. For the next four years, the group topped that by taking first place in the alumni category and celebrating their wins with seafood dinners.

1997 Sidewalk Arts Festival (from left to right): Troy Wingard, Anthony Hightower, Stan Jennings, Ginger Stephens and Scott Kirchner. 

For the last 15 years, the Lexington Art Council has participated as exhibitors only. To them, having a dedicated 12-by-16-foot space in the alumni section where thousands of visitors tread to see their large-scale chalk drawings is prize enough. Their favorite piece commemorated one of their own, Scott Kirchner, who passed away in 2012.

2006 Sidewalk Arts Festival (from left to right): Troy Wingard and Marion B. Mason.

If you’ve photographed the Lexington Art Council throughout their history you probably captured Mr. Mason working alongside them. He’ll be there again this year, as he always is. The festival encouraged Wingard to attend SCAD, and Mr. Mason influenced his decision to teach art, as he does now as a professor at The Art Institute of Washington-Dulles in Dulles, Virginia. 

Everybody has a preconceived notion that artists are poor. My purpose is to tell my students, ‘You are here to show that you’re special and have something important to say and that you know how to say it in a way that garners respect.' - Troy Wingard

At Sidewalk Arts 2015, 700 high school and college students will discover just how much a simple piece of chalk can inspire, as Wingard did all those years ago.

Western will be the third film in a row that Bill Ross (B.F.A., video/film, 2003) and Turner Ross (B.F.A., painting, 2003) have shown at SXSW, part of an acclaimed series of documentaries about the American experience that also includes the films 45365 and Tchoupitoulas. This trip to Austin is particularly meaningful to the team given that they spent more than a year in Texas shooting Western, which explores the relationships of residents in the border towns of Eagle Pass, Texas and Piedras Negras, Mexico. We caught up with them soon after they returned from Sundance, where Western won the U.S. Documentary Special Jury Award for Vérité Filmmaking.

SCAD: Congratulations on the success of Western. How did this film get made?

Bill Ross (BR): We scouted the border through New Mexico and Texas, looking for a place of visual resonance and cultural significance. Once we ran into the mayor of Eagle Pass we knew we had to stay. We got a dumpy apartment and didn't leave for 13 months. We got by. Logistically, we had to release Tchoupitoulas before we could dig into Western, so a bit of time did pass in the interim. That, and we had to create what we envisioned as a non-fiction western. It took its time, and we do things our own way.

SCAD: When did you know that you had a story?

We went in looking to explore what the modern frontier looks like, hoping just to observe without any sort of agenda. Once the cartels shook things up, though, it was unavoidable. That steered so many of the lives that we had been following. -Bill Ross

SCAD: Do you ever disagree on how to tell a story?

BR: How to tell it? Not really. The story comes together in the edit and we go back and forth until we’re happy. It's more of a long-running conversation than any sort of shortsighted argument.

SCAD: How did this film stretch you as filmmakers? What progression can we see from 45365, Tchoupitoulas, River and Western?

BR: Each one has developed its own character and set of rules. While we hope they are all recognizable as a body of work, they all have their own personality. Western asked for much more attention to the progression of the characters’ feelings and movements as things unfolded. We had to focus more on story elements and the trappings of genre. That said: we have a base approach that we bring to every shoot, though the aesthetic choices and motivations always differ.

SCAD: What’s your favorite scene that didn’t make the cut?

BR: With hundreds of hours of footage your heart gets broken a lot. There are full characters and storylines that get dropped and those are people and life experiences that you adored. I’ll just throw one out. Our rancher Martin and his cowhand J.W. were out hunting when they were attacked by bees. A very long chase ensued and Turner really covered it well. It would have been a great laugh for the film but it didn’t end up making sense.

SCAD: What did working with fellow SCAD alumni lend to your film?

BR: On the ground shooting our films it’s mostly Turner and me, but we often have fellow SCAD Bees show up and we hand them a camera. It’s in post that the team really pulls together. The core crew we had at SCAD all moved out to LA together, for the most part. Everyone started out with entry-level jobs and now find themselves in some pretty nice spots. They take breaks from their big-time stuff to help finish our films. This is one of my favorite parts because it feels a lot like college. Staying up all night and hustling to reach deadlines with your buddies. 

SCAD: What are you looking forward to about returning to SXSW? How do you get business done there?

SX threw us into the world, so it’s great to get to go back. Being close to Eagle Pass gives us an opportunity to share the film with a lot of people we shot with. That’s what we're most excited about. -Bill Ross

BR: Business happens everywhere and in many different forms, you just gotta find balance.

SCAD: Do you have advice on the festival circuit for aspiring filmmakers?

BR: Treat it as a party. Celebrate what you’ve done. The business will come down the line and the people you meet will be the people you make your next film with, but there is also life. Being present is key on all fronts.

SCAD: What’s your take on the status of documentary filmmaking? What trends should we pay attention to?

BR: Laura Poitras. Laura Poitras. Laura Poitras.

SCAD: How did you come across your next project working with Talking Heads frontman David Byrne on Contemporary Color?

BR: He had seen our films and asked for a meeting. It’s working out pretty well. We always use to close down Pinkie Master’s Lounge with ‘This Must Be The Place.’ So it's kind of funny. 

SCAD: What filmmakers have you learned the most from?

BR: Robert Altman.

SCAD: What’s your best advice for aspiring documentary filmmakers?

BR: Learned this one while working at a kitchen on Broughton Street in Savannah: ‘Don’t talk about it, be about it.’

SCAD: How did SCAD prepare you to become award-winning filmmakers? Turner, how does your degree in painting inform your films?

BR: The access to equipment was big for us and for our buddies.

We were always shooting, regardless of whether there was an assignment or not. The opportunity to get out there and make every mistake possible taught us so much. -Bill Ross

Turner Ross: Our family in college was all film kids, so from early on I got the opportunity to assist in the more creative aspects of their projects. I translated that into art department work on studio features before going for broke with Bill. Theory in painting and theory in film are analogous; it doesn't really matter the medium, it's what's behind it.

SCAD: You’ve said before that your point of view or angle is Americana trilogies. Do you think a filmmaker has to define their point of view to be successful?

BR: We have our mantras, but don’t feel the need to talk about it too loudly outside of that. The work should speak for itself.

The resurgence of TV is attracting a new generation of talent. Students are increasingly interested in jobs for the small screen, whether they are above or below the line. I tell them it’s a great time to get in, and that chances are good they’ll one day work for the same shows they binge watch. It seems that people used to get into the business because they were well connected, starry eyed, or gluttons for rejection. But the reasons why TV is a great career to shoot for are now better than ever. Here’s a few:

1.) There are more shows than there are staff to produce them.
When I was starting, jobs were scarce, and they were mostly limited to network. Not so today. For example, there are more than 60 network and cable TV shows and films now shooting in New York. This past summer there were 80. In Atlanta, there were 158 film and TV projects shot in 2014 alone, with frequent reports of new productions opening shop. Attached to each of these productions are a myriad of roles and responsibilities that show runners need to fill.

2.) You don’t have to move to New York or Los Angeles.
Seventy five percent of my graduate class moved to LA or New York for work. Now I tell my students to go wherever they have contacts, especially Atlanta, where the opportunities are equal to those in New York and LA. There are big incentives for shows to hire locally, and tax credits aren’t the only ones. I like to hire local crews because they know the area, are well connected and help a show run efficiently. If you build the labor force, the productions will come. Banking on this trend, I recently changed my DGA residency to Savannah believing that more production work will come to the city as the talent pool grows.

3.) New talent can grow with new platforms and content.
Viewers have an appetite for fresh content and for new ways to consume it. With original productions streaming on the likes of Amazon, and cable networks increasingly supplementing unscripted content with scripted, new talent can get in on the ground level of new shows with new forms of distribution and grow with them. Ratings buster Empire or Golden Globe-winning Transparent anyone?

4.) TV teaches on the job.
TV is still an industry that’s willing to teach on the job. We bring in students with little experience, train them in the strange and technical nuances of our business, and hire the promising ones. I placed recent SCAD grad Gabe Gilden as an intern on a Comedy Central pilot. That internship turned into a job as a set PA on Broad City.  Now he’s in the process of joining the DGA Trainee Program. To get there, Gabe had to experience a set and learn what the other 100 crew members do. The beauty is that because he was taught that way, one day Gabe will create opportunities for students, too, and keep the pipeline going.

TV will thrive with a well-trained work force, which will result by expanding pathways between the classroom and the set. The sooner students know what they want to do, the sooner faculty can train them and place them on shows for course credit and real world experience. Such is the case of senior Allie Schultz who, beginning in sophomore year, spent early morning classes repeatedly setting up and breaking down tripods. Her active interest in cinematography landed her at the top of the list we handed the The Walking Dead when producers called SCAD for interns. Later on set, when a camera op threw her the sticks, of course Allie put them up rapidly and evenly, much to the surprise and delight of the harried crew. There are dozens more like her ready to be tested; ready to show the industry that its future is in good hands. And with job prospects looking better than ever, their ranks will grow, starry eyed and business-minded.

Megan Lombardo is an adjunct professor of film and television at Savannah College of Art and Design. Her credits as 1st and 2nd AD include Broad City, airing on Comedy Central, MTV’s Eye Candy, Fox’s Glee and HBO’s VEEP. She holds an M.F.A. in film and television from SCAD.