Tom Benedek talks the creative process with filmmakers, writers, showrunners, other cultivators of truth and beauty. 

Tom Benedek talks the creative process with filmmakers, writers, showrunners, other cultivators of truth and beauty.&nbsp;

Tom Benedek talks the creative process with filmmakers, writers, showrunners, other cultivators of truth and beauty.

#000 - Welcome to TheProcess.Ink - Tom Benedek

Peter Tolan (Rescue Me, Outsiders, The Jim Gaffigan Show, Analyze This) talks TV pilots and his creative journey.We talk about:
creating character conflicts
balancing comedy and drama
The central idea, the nugget, the central question of what a show is and writing to it
Building character conflicts, plot in a TV pilot
Mapping out the season/seasons of a series
Episode balance of comedy and drama on Rescue me
Writers room
Using cards
Cards wall
Story checkpoints
Sequences
George Clooney
Sony Television
Pitching
Rewriting
Writing the rough draft
Writing just comedy/jokes vs. story/plot – what happens next?
The Larry Sanders Show
UMass theatre days
New York theatre exploits
Murphy Brown
Gaffigan
Playwriting to TV writing
Breaking into the business today – Youtube, shooting somethingQuotes from the show:

"You slowly put everything in place so you can get to that last moment. We knew what the last image of the first season of Rescue Me was so we could always write to it. We slowly could make our way towards that."

"Rescue Me was dealing with death all the time. As dark as it went with drama, it had to go just as light with the comedy. You had to balance the two out."

“If you're young and starting out,  you can shoot on your phone. Write something and make it. Put it on YouTube  and people will see it.”

“You write somebody who's a dick - who has outrageous behavior, but then how do you have an audience empathize with that character, care about that character? So an essential character is not the dick, it's the other guy."

Peter Tolan (Rescue Me, Outsiders, The Jim Gaffigan Show,&nbsp;Analyze This)&nbsp;talks TV pilots and his creative journey.
<h2>We talk about:</h2>
<ul>
<li>creating character conflicts</li>
<li>balancing comedy and drama</li>
<li>The central idea, the nugget, the central question of what a show is and writing to it</li>
<li>Building character conflicts, plot in a TV pilot</li>
<li>Mapping out the season/seasons of a series</li>
<li>Episode balance of comedy and drama on Rescue me</li>
<li>Writers room</li>
<li>Using cards</li>
<li>Cards wall</li>
<li>Story checkpoints</li>
<li>Sequences</li>
<li>George Clooney</li>
<li>Sony Television</li>
<li>Pitching</li>
<li>Rewriting</li>
<li>Writing the rough draft</li>
<li>Writing just comedy/jokes vs. story/plot &ndash; what happens next?</li>
<li>The Larry Sanders Show</li>
<li>UMass theatre days</li>
<li>New York theatre exploits</li>
<li>Murphy Brown</li>
<li>Gaffigan</li>
<li>Playwriting to TV writing</li>
<li>Breaking into the business today &ndash; Youtube, shooting something</li>
</ul>
<h2>Quotes from the show:</h2>
"You slowly put everything in place so you can get to that last moment. We knew what the last image of the first season of Rescue Me was so we could always write to it. We slowly could make our way towards that."
"Rescue Me was dealing with death all the time.&nbsp;As dark as it went&nbsp;with drama, it had to go just as light with the comedy. You had to balance the two out."
&ldquo;If you're young and starting out, &nbsp;you can shoot on your phone. Write something and make it. Put it on YouTube &nbsp;and people will see it.&rdquo;
&ldquo;You write somebody who's a dick - who has outrageous behavior, but then how do you have an audience empathize with that character, care about that character? So an essential character is not the dick, it's the other guy."

Peter Tolan (Rescue Me, Outsiders, The Jim Gaffigan Show, Analyze This) talks TV pilots and his creative journey

#2 - Peter Tolan (TV writer-showrunner & screenwriter) in Santa Monica

Janet Leahy (Mad Men, Gilmore Girls, Boston Legal, Roseanne, The Cosby Show) talks her creative journey and work experiences.We talk about:
The Mad Men writers room
Women in TV writing
Women breaking into TV
Writers Assistants
Developing characters
Production Secretaries
The writers room
Creating episode stories
Worst fears-using character fears to create compelling story conflict
Transitioning from half-hour comedy writing to one-hour drama
Family of characters
Story Conflict
pitching TV shows,
brainstorming
playwriting
road trips for writingQuotes from the show:

"I pitch why it's important, the characters,  the tone."

"What's the worst thing? What are you afraid of? What relationships in your life are you trying to resolve? Why can't you resolve them?"

“It has to entertain the audience, move them, nourish them emotionally.”

“Family of characters… people bringing this family, these characters into their home. Because of the technology, they’re carrying them in their pocket now, too.”

"Whhat are their hopes and dreams? What are they not getting? What's their struggle? What are hoping to gain in their journey? Let's say their journey is life or their journey is a job or what have you. As long as you know all that, you can start playing with that. Then, what I found is once you have your characters,

"People start bringing in stories from their own lives to the writers' room and translate them through the show's characters."

"I try to clear my brain and then the ideas come. I let go of any notion that I'm going to control this thing and then the ideas come."

“This kind of complete camaraderie and yet complete competition in the room for jokes.”

“You’ll be really funny and talented on one show and the next show you work on, that showrunner decides whether you’re funny or not.”

Janet Leahy (Mad Men, Gilmore Girls, Boston Legal, Roseanne, The Cosby Show) talks her creative journey and work experiences.
<h2>We talk about:</h2>
<ul>
<li>The Mad Men writers room</li>
<li>Women in TV writing</li>
<li>Women breaking into TV</li>
<li>Writers Assistants</li>
<li>Developing characters</li>
<li>Production Secretaries</li>
<li>The writers room</li>
<li>Creating episode stories</li>
<li>Worst fears-using&nbsp;character&nbsp;fears to create compelling story conflict</li>
<li>Transitioning from half-hour comedy writing to one-hour drama</li>
<li>Family of characters</li>
<li>Story Conflict</li>
<li>pitching TV shows,</li>
<li>brainstorming</li>
<li>playwriting</li>
<li>road trips for writing</li>
</ul>
<h2>Quotes from the show:</h2>
"I pitch why it's important,&nbsp;the characters, &nbsp;the tone."
"What's the worst thing? What are you afraid of? What relationships in your life are you trying to resolve? Why can't you resolve them?"
&ldquo;It has to entertain the audience, move them, nourish them emotionally.&rdquo;
&ldquo;Family of characters&hellip; people bringing this family, these characters into their home. Because of the technology, they&rsquo;re carrying them in their pocket now, too.&rdquo;
"Whhat are their hopes and dreams? What are they not getting? What's their struggle? What are hoping to gain in their journey? Let's say their journey is life or their journey is a job or what have you. As long as you know all that, you can start playing with that. Then, what I found is once you have your characters,
"People start bringing in stories from their own lives to the writers' room and translate them through the show's&nbsp;characters."
"I try to clear my brain and then the ideas come. I let go of any notion that I'm going to control this thing and then the ideas come."
&ldquo;This kind of complete camaraderie and yet complete competition in the room for jokes.&rdquo;
&ldquo;You&rsquo;ll be really funny and talented on one show and the next show you work on, that showrunner decides whether you&rsquo;re funny or not.&rdquo;

Janet Leahy (Mad Men, Gilmore Girls, Boston Legal, Roseanne, The Cosby Show) talks her creative journey and work experiences

#3 - Janet Leahy (TV writer-showrunner) in Pacific Palisades

Joe Swanberg (Drinking Buddies, Happy Christmas) discusses his new 8-episode series Easy for Netflix using the same improvisational style he developed to make his numerous indie features.

We talk about:
Writing, directing and producing Easy
Casting over Skype
Improvising vs. sticking to a script
Scheduling in movies vs. TV
Shooting in Chicago (as much as possible)
A typical day on a Swanberg set
Pitching an idea to Netflix
Post-production strategies

Quotes from the show:

“There was no rule book for how to do a show like this.”

“The characters are all coming from autobiographical places in terms of my connection to them.”

“When you put out a movie, you are buying advertising, sort of like throwing rocks hoping to hit the people who might like it, and because Netflix already has that data, it puts the show at such an advantage already to find its perfect audience.”

“It’s really wild to think that I made this thing with my small crew in Chicago… but the instant global audience is going to be akin to a big holiday film release.”

Joe Swanberg (Drinking Buddies, Happy Christmas) discusses his new 8-episode series Easy for Netflix using the same improvisational style he developed to make his numerous indie features.
We talk about:
<ul>
<li>Writing, directing and producing Easy</li>
<li>Casting over Skype</li>
<li>Improvising vs. sticking to a script</li>
<li>Scheduling in movies vs. TV</li>
<li>Shooting in Chicago (as much as possible)</li>
<li>A typical day on a Swanberg set</li>
<li>Pitching an idea to Netflix</li>
<li>Post-production strategies</li>
</ul>
Quotes from the show:
&ldquo;There was no rule book for how to do a show like this.&rdquo;
&ldquo;The characters are all coming from autobiographical places in terms of my connection to them.&rdquo;
&ldquo;When you put out a movie, you are buying advertising, sort of like throwing rocks hoping to hit the people who might like it, and because Netflix already has that data, it puts the show at such an advantage already to find its perfect audience.&rdquo;
&ldquo;It&rsquo;s really wild to think that I made this thing with my small crew in Chicago&hellip; but the instant global audience is going to be akin to a big holiday film release.&rdquo;

Joe Swanberg (Drinking Buddies, Happy Christmas) discusses his new 8-episode series Easy for Netflix using the same improvisational style he developed to make his numerous indie features

#5 - Joe Swanberg (writer-director-producer) from Chicago

Rick Rosenthal (Transparent, Bad Boys, Halloween II) discusses wearing multiple hats in both film and television, and the efforts of his production company, White Water Films.

We talk about:
Selling vs. Not Selling Scripts
Bonding in Television vs. Film
Producing vs. Directing in Television
Working on ‘Transparent’
Script Notes and Editing for the Long Haul in Television
Improvisation and Mapping Out Seasons in Television
“Is this Story a Movie or a Series?”
Today’s Movies and Budgets
Producing vs. Directing in Film
Investing in Productions and Setting Expectations
Balancing Film and TV Projects
Casting Big Names
Building and Maintaining Relationships

Quotes from the show:

"You can lead a horse to water, but you cannot make a duck wear a saddle. I thought that sort of summed up Hollywood well for me."

“Television needs… to sort of look at the way novels are structured and layered, and [how] things are set up and developed over time. Most television hasn’t been like that.”

“Your role as a producer… is to make sure that the ship doesn’t hit the rocks, or at the very least, doesn’t hit the rocks under full steam. Yet, at the same time, you have to give a certain amount of creative freedom to get dangerously close to the rocks.”

“Investing in the movie business is this strange combination of buying a painting and going to Las Vegas.”

“If you do good work, that’s what it’s all about. It is about good work, but it’s also about understanding the advantage of having really strong personal relationships with people.”

“…If you really care bout the process, then the outcome will take care of itself. Even if it doesn’t appear to be the outcome you want, you don’t know that outcome, that loss as it were, isn’t pushing you to a greater level of process.”

Rick Rosenthal (Transparent, Bad Boys, Halloween II) discusses wearing multiple hats in both film and television, and&nbsp;the efforts of his production company, White Water Films.
We&nbsp;talk about:
<ul>
<li class="p1">Selling vs. Not Selling Scripts</li>
<li class="p1">Bonding in Television vs. Film</li>
<li class="p1">Producing vs. Directing in Television</li>
<li class="p1">Working on &lsquo;Transparent&rsquo;</li>
<li class="p1">Script Notes and Editing for the Long Haul in Television</li>
<li class="p1">Improvisation and Mapping Out Seasons in Television</li>
<li class="p1">&ldquo;Is this Story a Movie or a Series?&rdquo;</li>
<li class="p1">Today&rsquo;s Movies and Budgets</li>
<li class="p1">Producing vs. Directing in Film</li>
<li class="p1">Investing in Productions and Setting Expectations</li>
<li class="p1">Balancing Film and TV Projects</li>
<li class="p1">Casting Big Names</li>
<li class="p1">Building and Maintaining Relationships</li>
</ul>
Quotes from the show:
"You can lead a horse to water, but you cannot make a duck wear a saddle. I thought that sort of summed up Hollywood well for me."
&ldquo;Television needs&hellip; to sort of look at the way novels are structured and layered, and [how] things are set up and developed over time. Most television hasn&rsquo;t been like that.&rdquo;
&ldquo;Your role as a producer&hellip; is to make sure that the ship doesn&rsquo;t hit the rocks, or at the very least, doesn&rsquo;t hit the rocks under full steam. Yet, at the same time, you have to give a certain amount of creative freedom to get dangerously close to the rocks.&rdquo;
&ldquo;Investing in the movie business is this strange combination of buying a painting and going to Las Vegas.&rdquo;
&ldquo;If you do good work, that&rsquo;s what it&rsquo;s all about. It is about good work, but it&rsquo;s also about understanding the advantage of having really strong personal relationships with people.&rdquo;
&ldquo;&hellip;If you really care bout the process, then the outcome will take care of itself. Even if it doesn&rsquo;t appear to be the outcome you want, you don&rsquo;t know that outcome, that loss as it were, isn&rsquo;t pushing you to a greater level of process.&rdquo;

Rick Rosenthal (Transparent, Bad Boys, Halloween II) discusses wearing multiple hats in both film and television, and the efforts of his production company, White Water Films

#6 - Rick Rosenthal (film director & TV producer) at White Water Films

Stephen Nathan (Bones, Joan of Arcadia, Family Law) discusses career in executive producing sit-coms and one-hour drama series and offers a detailed look into a ten-year run on the hit comedy-procedural Bones.

 

We talk about:
The future of consuming visual content
Writing and executive producing Bones for a decade 
The special 200th "Hitchcock" episode of Bones in Technicolor
The evolution of two central characters 
Balancing plot and character within episodes
Social media fan support -- the positive and the negative
Transitioning from New York and the stage to LA and a role in Bonanza 
The demanding schedule of a showrunner
Cross-training with playwriting

 

Quotes from the show:

"Ten years on one show... I could have become a doctor."

"There are two characters; we pick them up at one part of their lives, and then, when the series ends, you leave them in another part of their lives."

"The more controversial something is-- or the more upset the audience was-- the more they talked about it, and the more people wanted to see what they were talking about."

"I have felt so lucky and so fortunate to be able to do what I love, and eat because of it. I don't take that lightly."

"There has to be an element of truth. That holds true for any genre, any literature... What's the ticker? What's that little piece of humanity that's the reason we watch the show?"

Stephen Nathan (Bones, Joan of Arcadia, Family Law)&nbsp;discusses career in&nbsp;executive producing sit-coms and one-hour drama series&nbsp;and offers a detailed look into a&nbsp;ten-year run&nbsp;on the hit comedy-procedural&nbsp;Bones.
&nbsp;
We talk about:
<ul>
<li>The future of consuming visual content</li>
<li>Writing and executive producing&nbsp;Bones&nbsp;for a decade&nbsp;</li>
<li>The special 200th "Hitchcock" episode of Bones&nbsp;in Technicolor</li>
<li>The evolution of two central characters&nbsp;</li>
<li>Balancing plot and character within episodes</li>
<li>Social media fan support -- the positive and the negative</li>
<li>Transitioning from New York and the stage&nbsp;to LA and a role in&nbsp;Bonanza&nbsp;</li>
<li>The demanding schedule of a showrunner</li>
<li>Cross-training with playwriting</li>
</ul>
&nbsp;
Quotes from the show:
"Ten years on one show... I could have become a doctor."
"There are two characters; we pick them up at one part of their lives, and then, when the series ends, you leave them in another part of their lives."
"The more controversial&nbsp;something is-- or the more upset the audience was-- the more they talked about it, and the more people wanted to see what they were talking about."
"I have felt so lucky and so fortunate&nbsp;to be able to do what I love, and eat because of it. I don't take that lightly."
"There has to be an element of truth. That holds true for any genre, any literature... What's the ticker? What's that little piece of humanity that's the reason we watch the show?"

Stephen Nathan (Bones, Joan of Arcadia, Family Law) discusses career in executive producing sit-coms and one-hour drama series and offers a detailed look into a ten-year run on the hit comedy-procedural Bones

#8 - Stephen Nathan (TV writer-showrunner) in Santa Monica

Bec Smith (United Talent Agency) discusses her work as both a literary agent and an independent film agent.

 

We talk about:
Growing up in Australia with movie maddness
A background in journalism, film criticism and development at Working Title
Producing and selling Animal Kingdom at Sundance
What it takes for a film to break through the noise, these days
How independent films get valued and how projects get made
American vs. foreign filmmaking and financing
Signing clients ( David Michod, James Ponsoldt, Garth Davis ) from the start

 

Quotes from the show:

“I think it’s an exciting and interesting time for feature filmmakers, but I also think it’s more challenging than it’s ever been.”

“You’ve got to have a reason for being, either in subject or in terms of the filmmaking.”

“I’m a firm believer that cream rises to the top, and I find my way to the things I’m meant to find my way to.”

"[A DIY filmmaker] can survive, and plenty of people do, you just have to change your lifestyle. It depends on what you're willing to get by on."

"Be tough on yourself. Good isn't good enough. It has to be excellent... If you're gonna do it, just go for broke." 

Bec Smith (United Talent Agency) discusses her work as both a literary agent and an independent film agent.
&nbsp;
We talk about:
<ul>
<li>Growing up in Australia with movie maddness</li>
<li>A background in journalism, film criticism and development at Working Title</li>
<li>Producing and selling Animal Kingdom&nbsp;at Sundance</li>
<li>What it takes for a film to&nbsp;break through the noise, these days</li>
<li>How independent films get valued and how projects get made</li>
<li>American vs. foreign filmmaking and financing</li>
<li>Signing clients (&nbsp;David Michod, James Ponsoldt, Garth Davis ) from the start</li>
</ul>
&nbsp;
Quotes from the show:
&ldquo;I think it&rsquo;s an exciting and interesting time for feature filmmakers, but I also think it&rsquo;s more challenging than it&rsquo;s ever been.&rdquo;
&ldquo;You&rsquo;ve got to have a reason for being, either in subject or in terms of the filmmaking.&rdquo;
&ldquo;I&rsquo;m a firm believer that cream rises to the top, and I find my way to the things I&rsquo;m meant to find my way to.&rdquo;
"[A DIY filmmaker] can survive, and plenty of people do, you just have to change your lifestyle. It depends on what you're willing to get by on."
"Be tough on yourself. Good isn't good enough. It has to be excellent... If you're gonna do it, just go for broke."&nbsp;

Bec Smith (United Talent Agency) discusses her work as both a literary agent and an independent film agent

#9 - Bec Smith (literary & indie film agent) at United Talent Agency

Alexander Mirecki (All Together Now) & Morgan Krantz (Babysitter) talk about making indie features and creating a webseries, Neurotica, currently in its second season

 

We talk about:
The fundamentals of making a webseries
The importance of episode length
Deriving stories from real life
Translating ninety seconds into half an hour
Shifting storytelling from season to season

 

Quotes from the show: 

"We're building out a world where we want threads, but they can't be relationships. It's about lonliness, ultimately, the show."

"We like to say (Neurotica) is like Seinfeld on acid."

"Right now, you're getting a sense that the character is on the verge of psychotic, but not there, he's definitely still in the realm of neurotic."

"We want (our main character) to be Mr. Bean for millenials."

Alexander Mirecki (All Together Now)&nbsp;&amp;&nbsp;Morgan Krantz (Babysitter)&nbsp;talk about making&nbsp;indie features and creating a webseries,&nbsp;Neurotica,&nbsp;currently in its second season
&nbsp;
We talk about:
<ul>
<li>The fundamentals of making&nbsp;a webseries</li>
<li>The importance of&nbsp;episode length</li>
<li>Deriving stories from&nbsp;real life</li>
<li>Translating ninety seconds into half an hour</li>
<li>Shifting&nbsp;storytelling from season to season</li>
</ul>
&nbsp;
Quotes from the show:&nbsp;
"We're building out a world where we want threads, but they can't be relationships. It's about lonliness, ultimately, the show."
"We like to say (Neurotica) is&nbsp;like Seinfeld on acid."
"Right now, you're getting a sense that the character is on the verge of psychotic, but not there, he's definitely still in the realm of neurotic."
"We want (our main character) to be Mr. Bean for millenials."

Alexander Mirecki (All Together Now) & Morgan Krantz (Babysitter) talk about making indie features and creating a webseries, Neurotica, currently in its second season

#10 - Alexander Mirecki & Morgan Krantz (creators of Neurotica) at Atwater Village

Emily Maya Mills (Upright Citizens Brigade, Orange is the New Black, Parks and Recreation) talks about writing and performing comedy for the stage and on television

 

We talk about:
Creating and writing her one-woman shows
All about Upright Citzens Brigade and the process
Her debut stand-up album, By a Thread
Improvisation verus acting and memorization
The evolution of comedy and gender relationships
Strategy for stand-up material and telling jokes

 

Quotes from the show: 

"I have a love for performance and acting where you can't see the threads."

"I think there's a very transcendent thing that's happening when you're free of those wires... there's a zone of sorts that feels a bit like flying."

"UCB teaches students, 'Here's how you find funny...'"

"When things are unusual... when they tend to have a juxtaposition, they tend to have a reaction within you."

Emily Maya Mills&nbsp;(Upright Citizens Brigade, Orange is the New Black, Parks and Recreation)&nbsp;talks&nbsp;about writing and performing comedy for the&nbsp;stage and on television
&nbsp;
We talk about:
<ul>
<li>Creating and writing her one-woman shows</li>
<li>All about Upright Citzens Brigade and the process</li>
<li>Her debut stand-up album,&nbsp;By a Thread</li>
<li>Improvisation verus acting and memorization</li>
<li>The evolution of comedy and gender relationships</li>
<li>Strategy for stand-up material and telling jokes</li>
</ul>
&nbsp;
Quotes from the show:&nbsp;
"I have a love for performance and acting where you can't see the threads."
"I think there's a very transcendent thing that's happening when you're free of those wires... there's a zone of sorts that feels a bit like flying."
"UCB teaches students, 'Here's how you find funny...'"
"When things are unusual... when they tend to have a juxtaposition, they tend to have a reaction within you."

Emily Maya Mills (Upright Citizens Brigade, Orange is the New Black, Parks and Recreation) talks about writing and performing comedy for the stage and on television

#11 - Emily Maya Mills (actress & comedian) in Burbank

Ben Jacobson (United Talent Agency) discusses representing drama and comedy television writers, directors and producers and the nature of today's industry  

 

We Talk About:
Staffing season and the selling cycle
Developing and branding for a network vs. cable
Different kinds of working writers today
Breaking in with a new voice
What a pitch meeting is really like
Current trends in comedy and drama
Navigating and structuring deals
Curating digital content and its future

 

Quotes from the Show:

"It really comes from an idea, a book or a format or an original idea, and it's about where can it live in the purest form for that idea instead of trying to jam everything into one box or the other."

"Young people grow up and they want to create something... those creative juices are now naturally gravitating towards television."

"Word of mouth has become so much more important and the ability for people to watch all the episodes of a show in one day, and say, 'I watched this thing. It was great,' and if enough people say that in your Facebook newsfeed, you think to yourself, 'Okay maybe there's something to it.'"

 

Ben Jacobson&nbsp;(United Talent Agency) discusses&nbsp;representing drama and comedy television writers, directors and producers and the&nbsp;nature of today's industry &nbsp;
&nbsp;
We Talk About:
<ul class="ul1">
<li class="li1">Staffing season and the selling cycle</li>
<li class="li1">Developing and branding for a network vs. cable</li>
<li class="li1">Different kinds of working writers today</li>
<li class="li1">Breaking in with a new&nbsp;voice</li>
<li class="li1">What a pitch meeting is really like</li>
<li class="li1">Current trends in comedy and drama</li>
<li class="li1">Navigating and structuring deals</li>
<li class="li1">Curating digital content and its future</li>
</ul>
&nbsp;
Quotes from the Show:
"It&nbsp;really comes from an idea, a book or a format or an original idea, and it's about where can it live in the purest form for that&nbsp;idea instead of trying to jam everything into one box or the other."
"Young people grow up and they want to create something... those creative juices are&nbsp;now naturally gravitating towards television."
"Word of mouth has&nbsp;become so much more important and the ability for people to watch all the episodes of a show in one day, and say, 'I watched this thing. It was great,' and if enough people say that in your Facebook newsfeed, you think to yourself, 'Okay maybe there's something to it.'"
&nbsp;

Ben Jacobson (United Talent Agency) discusses representing drama and comedy television writers, directors and producers and the nature of today's industry

#13 - Ben Jacobson (literary TV agent) at United Talent Agency

Outstanding screenwriters, TV writers-showrunners, directors, producers, actors, executives agents managers and other cultivators of truth and beauty discuss their creative process with Tom Benedek.

Film and TV creatives on their work methods, sources of inspiration.

TheProcess.Ink

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