Monday, June 9, 2025

Respect • Part III

• Rights and responsibilities

It’s impossible to make informed decisions with incomplete data, and leadership requires being open and receptive to all pertinent information. Leaders and managers, having the right to access essential data, should understand that mission-critical information can be frustrating, discouraging, or even catastrophic. Agreeing to shoulder the responsibilities of a leadership position is an implicit indicator of one’s willingness to receive and process discomfiting information and to maintain one’s composure—i.e., professional decorum—simultaneously.

Emotions will be triggered, some more intensely than others; it’s unavoidable. Still, how one deals with those emotions as they occur is always a choice. Effective leadership requires emotional maturity, a quality that’s painfully lacking in those the author identifies as faux-pros (“faux professionals”), who often mistake directness for aggression. They also tend to make business decisions based on their emotions, which typically does not result in positive or profitable outcomes. Ignoring important information for the sake of one’s comfort is not an option—anyone who believes otherwise will only succeed in self-sabotage.

The author’s military experience effectively imprinted on them the importance of respecting the chain of command—an essential aspect of working on a film set. One’s position in the chain is typically proportional to one’s responsibilities. Leadership also comes with the right to know anything that could affect the outcome of the overall objective.

All crew members are responsible for maintaining situational awareness and ensuring that the next person up the chain of command is promptly updated with any new information that could impact production. They may not see “the big picture”—the context necessary to gauge the information’s importance—but respecting leadership’s right to timely and accurate information ensures that all parties involved in a project work within clearly defined parameters toward the same goal. Failure to do so may justify being relieved of one’s responsibilities. In the military, one may be removed from an assignment, demoted, have wages garnished—or all three—yet remain contractually employed. Civilians just get fired.

• Silence is neither polite nor professional

In a misplaced effort to be respectful and considerate, especially toward department heads, a director, or producers, one may be tempted to soften the blow by gently framing what may be perceived as “bad news” to make a situation seem less damaging. Or worse, leaving out alarming details—perhaps to bring them up “at a better time,” but more likely with the futile hope that the troubling issue(s) will “just go away.” While such soft-pedaling may be rationalized as considerate of another’s feelings, prioritizing emotional comfort over professional integrity and effective problem-solving is counterproductive and grossly inconsiderate of a leader’s right to complete and accurate information.

When circumstances that affect the outcome change, no one should be disadvantaged because crucial information was withheld from them. It must also be understood that there’s a difference between telling the truth and just being factual. Truthful delivery requires full disclosure. A lie of omission is still a lie and can be just as damaging as intentionally misleading someone or saying something patently false.

Countless excuses can be made for withholding vital information from those who need it most. Few, if any, can be justified in the name of professionalism or politeness. Such behavior may be rooted in an experience with a previous manager or another authority figure in one’s life who was easily offended, unable to control their emotions, or was quick to blame others for problems that arose because they refused to accept responsibility.

Regardless of industry, avoidance and surrendering to fear of conflict are unacceptable in the workplace, especially if such behavior manifests in those ostensibly “in charge.” Anyone known to engage in avoidant and calculated non-confrontational behavior cannot be trusted with essential responsibilities, to say nothing of mission-critical tasks, nor should they occupy any leadership or management positions. This is not a value judgment on the author's part, just a professional assessment based on their own experiences, having witnessed the complete failure of several business ventures into which considerable time and capital were invested—enterprises with real potential for profitability that could have led to more significant professional opportunities for all involved. Responsibility for most of those failures lay with people with avoidant and fearful personalities in positions of authority—typically because the venture was originally, or in part, their idea. Unfortunately, their need for control, inability to trust, and unwillingness to acknowledge their limitations prevented those projects from realizing that potential, unable to progress beyond their initial formation, or even barely getting past the planning stage.

• Obstacles to understanding

When meeting in person, greeting each other with a handshake is practically universal. It’s a gesture with prehistoric origins. Since one cannot grasp the hand of another while also holding a weapon, it’s understood to be a demonstration of peaceful intent. Still, not all weapons are tangible, and physical interaction is impossible when interacting online.

In the parlance of computing, a “handshake” is an automated process of establishing protocols for communication between devices—a process that most people don’t even consider when they send an email or text message. The need for people to demonstrate the nature of their intentions remains, but when initial communications are primarily text-based, adopting a mutually understood framework can be much more complicated and nuanced. 

The ability to arrange “conference calls” can be helpful, and video conferencing brings us closer to the familiarity of in-person meetings. However, despite increased camera resolution and internet bandwidth, reading a person’s affect and body language can still be challenging when their presence is limited to one of many streaming images on a screen.

As online collaboration continues supplanting real-world interactions, individual perceptions can become distorted. It’s not the medium of the internet itself that creates these distortions but the myriad worldviews and implicit biases of every individual.

The best way to mitigate these challenges is to establish a baseline protocol of professionalism and communication using the language and culture of business. The ease or difficulty with which one can adapt to this protocol varies from person to person. Like learning a new language, some will pick it up quickly; others need more time. Some can turn it on and off, while others never figure it out. Some just learn to fake it well enough to convince others they know what they’re doing.

Most will try to adapt, offering and seeking accommodation to achieve mutual goals. For example, everyone is prone to switching back to their default emotional settings when triggered. The technological disconnection offered by interfacing virtually can act as a buffer, allowing the professional to take a needed moment to process, reset, and pick up where they left off.

Unfortunately, the same virtual interface can be used to disguise intent, enabling overly ambitious amateurs and faux-pros to operate in bad faith, taking advantage of the sincerity and trust of others for personal gain.

When disingenuous entities are exposed—often betrayed by their own incompetence—they may double down, supplanting their public-facing identities with the digital disguises they’ve fabricated.

Novices and amateurs in their immediate orbit—especially ingénues and loyal sycophants—may not recognize it, but actual professionals see them for what they are.

• Collateral damage

When building a business, the only thing worse than developing bad habits is encouraging others to embrace them. Bad advice is the stock and trade of faux-professionals and working amateurs, offered freely and with the confidence of those who put their own interests ahead of others and get away with it long enough to call it a “career.”

The film industry is just one of many economic sectors that have emerged from a nation founded on the exploitation of labor and a complete absence of respect for the humanity of millions of forcibly displaced people and their descendants. While legislation has been enacted in an attempt to address those injustices, at least on paper, there has been no shortage of ingenuity in finding and exploiting every loophole to perpetuate them. For every subsequent law aimed at closing those discrepancies, others come to light and are promptly abused.

The exploitation of labor is not a byproduct of the capitalist system we’re forced to navigate; it’s a defining characteristic. Despite the efforts of organized labor to protect the interests of working filmmakers, far too many amateurs trying to “get their foot in the door” are so busy “faking it to make it,” that they may not realize how much they’re lack of respect for their colleagues—and themselves—is contributing to undermining film production as a practical career path.

Romanticizing the idea of “suffering for one’s art” is a problem seen in many creative industries, ironically appropriating the language of labor unions to normalize exploitation as “paying one’s dues.” Unscrupulous faux-pros, larping as movie moguls, are more than happy to accommodate the naivete of amateurs, justifying unethical—even illegal—behavior by literally saying, “If I don’t do it, somebody else will.”

In a community geographically linked to a faith tradition that ostensibly values industry, espouses moral principles of honesty and fairness,* declared adherents in the film community—trying to insinuate themselves into the actual industry—have been noted to act in bad faith, misrepresent themselves, withhold pertinent information, engage in manipulative behavior, and blatantly deceive others for their gain. Yet, they appear to not be weighed down by their conscience. The rationale they employ to sleep at night is simple: They convince themselves that what they do isn’t wrong, “it’s just business.” The author knows this because a former business partner once said it to their face, after a blatant attempt to surreptitiously buy-out other partners for controlling interest in a company that had yet to generate any revenue—and never would. 

Having witnessed this habitual behavior over the years, the author thinks it persists to some extent because it’s practically ingrained in Utah culture. While most people prefer to avoid confrontation, even if their job requires dealing with people directly, “ghosting” the people with whom one is expected to communicate seems almost pathological among Utahns—so much so that our state has been described as “...the global headquarters of passive aggressive nonconfrontational conduct.”

The author previously discussed how avoidance compromises effective communication during production and observed how a lack of transparency can sabotage otherwise promising business ventures. It’s hoped that recognizing the cultural component to this behavior will prompt some degree of introspection in members of the film community who remain optimistic about pursuing a career in a rapidly changing industry. Of course, culture has been described as “...the beliefs that people hold about reality...”

One of the most prevalent examples of blatant disrespect that the author has personally experienced and continues to observe in some Utah filmmakers is avoidance. From people who cut off communication with team members over perceived slights, to individuals who hold grudges for years against others with whom they have had no direct or meaningful connection, personally or professionally. While they represent an objectively inconsequential minority, they have a disproportionately negative impact on the community, with an inevitable ripple effect on the local film industry.

In their own efforts to mitigate this behavior, when interacting with the film community online, the author has always tried to identify problematic behaviors, rather than any people exhibiting them, out of respect for their right to consider their actions privately. Nevertheless, individuals who recognize those behaviors as consistent with their own often feel called out, even targeted, by the unflattering description, which may potentially elicit an emotional reaction, usually embarrassment.

Of course, how they choose to process that emotional trigger is their responsibility, not the author’s. Ideally, such a moment might prompt a period of self-reflection, perhaps even leading to personal growth. More often, however, some will allow themselves to become angry and lash out publicly, thereby outing themselves and revealing their unprofessional habits to a community that may otherwise have been entirely unaware of them, including people who may have considered working with them, at least up to that point.

The author has spent over two decades trying to build Utah Filmmakers into a brand that inspires confidence and respect. They don’t just want the organization’s name but the words themselves—Utah filmmakers—to be associated with Professionalism, Integrity, and Respect. Ironically, despite having had a generally positive impact on the community, the biggest obstacle to accomplishing that goal has always been the existing reputations of just a handful of Utah filmmakers.

*Full disclosure, the author identifies themselves as an active member of that faith.

Monday, June 2, 2025

Respect • Part II

“R-E-S-P-E-C-T”

Many words have multiple definitions. The first definition of “respect” is admiration based on notable qualities. This is where paid-pros stop reading because the only quality that’s notable to them is a paycheck. In their mind, to which no one else has access, this alone entitles them to “respect,” which they conflate with admiration. They may come to a set (or any workplace) expecting to be shown “proper respect” from the start. They won’t say it aloud because they already know they’re “professionals” and assume it’s common knowledge. Again, since this flattering self-assessment of their reputation exists only in their minds, that assumption is often incorrect and usually reveals itself in their behavior

Paid-pros typically prefer the company of servile flunkies and can usually be placated with shallow flattery. Of course, if recognizing suck-ups is part of their skill set, then such interactions are primarily one-sided. The paid-pro might enjoy the brief boost to their ego from all the “respect” they think they’re getting, but there’s no incentive to return such gestures.

Respect also suffers from the obstinate cliché that it has to be “earned.” This can be problematic when the paid-pro interacts with others in their field. If unaware of another’s work history—having no idea if a fellow crew member has been previously paid for their contributions—they may intentionally withhold “respect” until they’re satisfied that it’s been “earned.”

To paraphrase an observation made by one of the author’s colleagues, if someone is reasonably skilled in their local market, they may earn a reputation that keeps them working. They become the proverbial “big fish in the little pond.” This only becomes a problem if they assume their reputation will precede them when they “make it” into the broader industry. They may take offense at the lack of recognition when asked for their bona fides upon entering a larger market, potentially burning bridges that haven’t even been crossed. A little humility is all it takes to recognize an opportunity to use—and expand—one’s skills on wider-reaching endeavors that could broaden their experience and increase future employment opportunities.

Suppose they manage to avoid that pitfall and get hired. In that case, a paid-pro might wait a while before anyone realizes that they’ll only start acting nice after getting the “respect”—i.e., “admiration”—they think they’re entitled to just because they’re being paid to be there. The author, a dog owner, has noted that most animals that can be described as minimally sentient understand that praise only comes after demonstrating a desired behavior.

The problem with walking onto a set with such an attitude is that the paid-pro often comes across to others as aloof and condescending—in short, disrespectful. This would not be an issue had they continued to read and embrace the broader definition of respect: due regard for the feelings, wishes, rights, or traditions of others. It’s this comprehensive definition that informs the UFA Code of Ethics & Conduct, which states:

“Being respectful of people, property, institutions, and the environment should be BY DEFAULT—no one should demand that respect be ’earned.’” §3.1 (emphasis in the original)

Unaware of—or indifferent to—this broader definition, paid-pros may believe others are not showing them sufficient respect and may even infer they’re being actively disrespected. In reality, they’re just upset because no one is expressing the admiration—let’s just call it what it is: “ass-kissing”—to which they feel entitled because the only qualifier in their mind is that they get paid for what they do.

In most work environments, it can be safely assumed that everyone is being paid. Employers and employees are generally too busy doing their jobs to express “admiration” for a coworker just because they decided to be present during their contracted hours. That’s just how employment works. Genuine admiration comes from how well one completes a required task, not just from taking up space on the company payroll. It’s also rarely expressed outside of specific contexts.

• What “respect” actually looks like

Consummate professionals show respect for their colleagues simply by being polite. It should go without saying that politeness should be reciprocal—and yet, here we are.

Many people don’t consciously think about “politeness” outside of formal social interactions. Even then, they may only consider an abbreviated checklist that includes “minding one’s manners,” always saying “please,” “thank you,” and “excuse me.” However, being polite isn’t just about basic etiquette—it’s not even about setiquette—encompassing much more than extending common courtesy. While what’s considered “polite” varies between cultures, filmmakers should be most concerned with how it applies to business culture.

As previously stated—and it’s only repeated because so many amateur filmmakers continually fail to grasp this fundamental tenet:

The business of filmmaking is inextricable from the art form.

Whenever two or more people agree to engage in an activity to create something of value, such as an intellectual asset like a motion picture, they are—by definition—engaging in business. As such, what they choose to do with that asset is subject to the same applicable laws, regulations, and standards as any other business venture.

• Politeness is more than manners

In most social interactions, politeness typically means making those around them feel comfortable and using the right words to avoid offending others. The author asserts that taking “offense” is always a choice by those who feel offended. Not being offended isn’t always easy, but professionalism demands stringent emotional management, especially under intense pressure. In a business environment—where time is a commodity—the “right words” are the ones that communicate information most efficiently. The onus is on the individual receiving that information to process and deal with it rationally and in the best interests of everyone involved.

To offer a first-hand example of how a limited understanding of politeness can compromise productivity: In the early 2010s, while producing a television pilot, the author would write memos at the end of each shooting day discussing the production’s objectives and effectiveness at achieving them. In addition to recognizing excellence from the cast and crew in specific areas—and thanking them appropriately—points of inefficiency, breakdowns in communication, and logistical failures would be identified, and suggestions for improvements were recommended.

During a subsequent production meeting, another team member described the memos as “terse.” An accurate description and assessment of the author’s intent when writing them. However, that team member was using “terse” to criticize the language of those memos, incorrectly inferring a tone they felt was harsh and choosing to take offense. To be fair, many contemporary speakers of English use the word “terse” in that way. Regardless, its definition is simply “sparing in the use of words; abrupt.” Its etymological roots have also been described as “‘...polite’, hence ‘concise and to the point.’”

The memoranda were not written with harsh intent or to deliberately offend anyone. They were composed with a straightforward tone, conveying the author’s observations and recommendations efficiently and succinctly. Their purpose was to communicate factual information, not feelings. In other words, they were business memos, not fan mail.

The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the official policies and/or practices of the Utah Filmmakers™ Association, its Officers and/or Associates.

Thursday, May 29, 2025

Respect • Part I

In the summer of 2024, writer and labor advocate Adam Conover addressed attendees of the Stand With Animation Rally, organized by The Animation Guild. The rally occurred before their contract negotiations with the Alliance of Motion Picture and Television Producers (AMPTP).

Conover spoke of the common refrain that executives at major studios do not respect the creatives in their industry, but framed it in a way that resonated with this author, saying—in part:

“...NEVER say…’They don’t respect us… And that’s why they won’t give us what we deserve…’

“Your work makes these people hundreds of millions of dollars…They need you. Their respect doesn’t matter. What matters is your respect for yourself…respect yourself enough to say… ’I will not work for you until I get what I deserve’…” (emphasis added)

While Conover highlighted a blatant lack of respect from people in positions of power in the entertainment industry, he did not advocate for a response in kind. Instead, he emphasized the importance of self-respect. Professionalism demands that respect be maintained between all participants in any group effort, whether during contract negotiations or the production of a motion picture.

The Utah Filmmakers Association’s Core Values are Professionalism, Integrity, and Respect. Just as the business of filmmaking is inextricably linked to the art form, true professionalism cannot be demonstrated without integrity and respect. These values do not dictate behavior; they define a standard to strive for.

• Troubling observations

For the last quarter of a century, the author has been observing filmmakers in Utah, particularly those who comprise the established workforce of local film industry veterans who have made their living as filmmakers. Considering the industry’s rapid evolution and the ongoing examination of its viability as a practical career path in Utah, there has been an active interest in the overall conduct and practices of the current generation of filmmakers and what is being done to prepare the next.

While there’s no shortage of enthusiasm for making movies in the local film community—a distinct cohort from those in the film industry—anecdotal observations have noted some aspiring and semi-established Utah filmmakers who stand out for all the wrong reasons—in short, a demonstrable lack of professionalism, particularly where respect is concerned. These individuals are relatively few, but their conduct can—and does—affect the livelihoods of others.

When hired to work on productions for union-affiliated projects—especially those that take advantage of the state’s Motion Picture Incentive—local filmmakers should understand that they aren’t just doing a job; they’re representing local filmmakers and informing opinions about the quality of work that can be expected from Utah’s film industry.

Our local industry veterans deserve considerable credit for maintaining the market's viability and enabling our Film Commission to keep Utah at the forefront of studios and producers’ minds when considering production destinations, thanks to the abundance of local infrastructure and talent. It also spares production managers the logistical headaches of bringing in below-the-line crewmembers, equipment, and support services from out of state.

Still, when only a handful of local filmmakers are observed engaging in unprofessional behavior, it’s a disservice to the film community and the industry. It only takes one local hire to get fired from an incentivized production to hurt the employment prospects of other local filmmakers.

No one should assume it won’t happen because the Incentive Program requires hiring local talent. When Incentive funding is approved for a project, it remains conditional until a final audit verifies that the production has met the Program’s requirements. No one is going to keep an unprofessional crewmember on their payroll for the sake of a rebate. Serious, business-minded producers will settle for a smaller portion of an approved incentive if it means not compromising the saleability of their finished project.

Still, a single unprofessional experience can lead to generalizations about the capabilities of an entire region. Over the years, the author has become aware of incidents involving out-of-state and locally based productions concerning local hires. That they “act entitled” and are “disrespectful.” That “Utah filmmakers” can be “difficult to work with”—an industry euphemism that can kill a career; imagine the damage such a reputation can inflict when applied to an entire region. There have also been incidents in which notable industry professionals have made it abundantly clear that they would only return to the state on the explicit condition that a specificUtah filmmaker” is guaranteed NOT to be involved in future productions.

It’s difficult to quantify the cost of lost opportunities. Consider all the lost wages for local hires who miss out on a producer’s next project when they decide to take their production to another state. There’s also the lost revenue for local support services and ancillary resources that many wouldn’t consider benefiting from the expenditures of a motion picture production. When deciding where to shoot their project, the producers probably won’t even remember the name of the one problematic local hire they had to let go. Still, they’ll never forget where they fired them and use that as justification to shoot in Georgia, New Mexico, or Ontario. It is an objectively unfair generalization about “Utah” crews based on wholly subjective experiences with just a few individuals.

Those perpetuating this problem are statistically insignificant, comprising only a handful of Utah filmmakers. They don’t need to be identified, called out, or corrected; the careers of those who cannot see the flaws in their behavior and who don’t or simply refuse to learn from their mistakes quite effectively weed themselves out of any industry—even if they don’t realize it—or they remain in complete denial as they isolate themselves in self-affirming bubbles of ignorance, engaging in “movie mogul roleplay.” Still, this does not negate the real damage they cause. Their bad habits, questionable business practices, and corner-cutting become normalized within their spheres of influence and rub off on others who perpetuate the same problematic behaviors.

• Professionalism vs “professionals

The Utah Filmmakers Association’s primary means of interaction with the film community is through our Official Forum. Its first rule is an expectation of professionalism; its leading placement indicates its importance and should, ostensibly, make it easier to remember. Most other forum rules address problems that only arise when the first rule is forgotten or ignored. Unfortunately, many people subscribe to a narrow definition of “Professional.”:

“I get paid for what I do.

That makes me a professional…

a paid professional.”

This myopic view can evolve into the uninformed belief that one doesn’t need to act like a professional unless they’re getting paid. Throughout this treatise, those who embrace this conditional meaning will be referred to as “paid-pros” (paid professionals).

The off-putting behavior of paid-pros, who often believe they don’t need to act professionally when “off the clock” or between jobs, becomes much more noticeable on social media. Some of the most challenging people the author has had to engage with in the Utah Filmmakers group include a few “paid professional” filmmakers who are quick to take offense over innocuous feedback or polite requests to meet minimum standards in the group—standards that have existed for years and were implemented with guidance from film industry veterans. This phenomenon has been publicly addressed before:


Referring to oneself as a “professional” is meaningless without being respectful. Unfortunately, the practical application of “respect” also suffers from a deficient grasp of its meaning.

The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the official policies and/or practices of the Utah Filmmakers™ Association, its Officers and/or Associates.