Handling Criticism in Hollywood: Your How-To Guide

Biagio: Hey, everybody. She is joke and.

Joke: He’s Biagio.

Biagio: We’re married to make unscripted film and television and want to help you do the same.

Joke: Hopefully by teaming up with us.

Biagio: Yeah. Speaking of teaming up with us. Well, today is episode 85, which means we’re 15 away from that magic 100 number, honey. We’re gonna have to start thinking about what we’re gonna do for that.

Joke: No pressure, babe.

Biagio: Oh, man. I have, I have like, I have, like, these images of grandeur in my head. Like live events and.

Joke: Be in our pajamas on the couch, like, probably.

Biagio: But in the meantime, as we dive into episode 85, joke actually found a great article that was in Real Screen Magazine. Real screen, of course, is a big yearly convention. It centers around the unscripted television and film industries, and they put out a monthly magazine. But this this article in particular caught our attention because it’s something that I think a lot of people could benefit from, and especially people that are new to the business, I would say. And that is the idea of taking criticism, because no matter how good you are, no matter how talented you are, you are going to be dealing with criticism in many forms. Constructive. Not so constructive. Helpful. Annoying critiques that make your shows better, and critiques that if you take them, will just make them far worse. So for all those reasons, it’s really important when you’re dealing with your clients, whether that is your boss and the show you’re working on, the network you’ve sold a television show to the studio, who’s overseeing the show you’re making for a network, or anybody who’s basically writing you a check to understand, you know, how to handle that criticism in a positive way. And I thought that this article did a good job of breaking it down. And so what I thought we’d do is sort of hit some of the main points in the article, and then add to that with our own personal experience in the matter. What say you joke?

Joke: Yeah. I think it’s also important to say, you know, listen, hopefully you’re dealing with network executives who are really good at their job and are really good at giving notes in a constructive way or being helpful, or, you know, you’re working with team members who are very constructive and know what they want and are able to communicate criticism in a helpful way. That’s not always the case. So sometimes it doesn’t quite go as smoothly as the process could benefit from. And so you can’t control what other people do. You can only control how you react to those things that they do. So I think this was just as good for us to read again as it is, you know, advice for newcomers?

Biagio: Yeah. And so I want to give props to the authors of the article, Chris Palmer and Shannon Lawrence, and we will see if we can find their Twitter handles or their their web links, and include them in the show notes, which you’ll be able to find over at Producing Unscripted. Eight five. All right. So so let’s get into a joke where we begin.

Joke: Well, the number one thing and this is probably the hardest is don’t take it personally. So when you get criticism, don’t take it personally. I think that’s always easier said than done.

Biagio: Way easier said than done.

Joke: You know, it’s one of those things where we hopefully, if you care about what you do, you take pride in your work. And so when you get a criticism, you know, it’s hard not to take that personally because you sent them the cut in the first place, or you presented your ideas in the first place, and then, you know, if someone doesn’t like it, it’s hard to not take that personally. But that being said, a lot of times it isn’t personal. They are judging the idea. And I think that’s something where you, Biagio, coming from, you know, in front of the camera, could probably talk to more because when you’re an actor, you know, like you’re too short, you’re through this. You’re to that. I mean, that’s about as personal as it gets, right?

Biagio: Well, which is why I got out of acting, remember?

Joke: Right. And that’s why I’m saying, like, as a producer, it’s easy to start taking things personally again and again. It’s like, you know, it’s not it’s a criticism is to the idea or the criticism is to the work. Again, always easier said than done. Sometimes the things that you’re taking personal is the way in which criticism is given to you. Or, you know, again, if you’re working with network executives or bosses who aren’t very good at making it less personal and are making it personal on their end, you know, then you have to really try and differentiate. And ultimately, hopefully everyone’s on the same page that we’re trying to make the best TV show, film, script, whatever you know the project is that you’re working on. But again, no matter how they’re putting it at, you try to not take it personally. Again, I’m not saying this is easy.

Biagio: It’s not. And I’ll tell you my trick for this. And honestly, this is my trick for pulling emotion out of any, any of these situations, whether it’s a situation like this where you might take something personal or a situation where maybe you’re working on a really big project and you’re honestly a little bit nervous, you know, we’re working with a celebrity or you’re maybe, you know, you’re in the deep end. I think the easiest way to take emotion out of any stage of a project, including handling criticism, is just to focus on making the project great, because that forces you to step out of yourself. And when you put everything in the context of the project and you think about the project of making the project rate, it automatically gets you out of your own head. And I might get you out of thinking about, oh, I screwed this up, or oh, like what I did. And it brings you back to, yeah, let’s make this project. That’s awesome as it can be. And I find that that Jedi mind trick works on me.

Joke: I think the second point that they make is.

Biagio: Point number two.

Unidentified Voice: Point number two.

Joke: Is take a breather. And I think this this is a great number two, because if you do end up taking it personally and you are getting emotional, it’s important to take a breather. And you know, that could be, you know, Namaste. Let’s zen it out and meditate on it. Or it could just be vented out and, you know, commiserate with somebody that you’re sharing these notes with. The point is, is just get through the emotions. Let them go. Don’t don’t act when you’re emotional. Take a breather. Take a pause. Take a step until you can get back to the rational part of you and so that it’s easier for you to look at the notes and the criticism from a project point of view. Another personal point of view. So yes, don’t take it personally if it does happen. Make sure you take a breather and that you’re acting and responding in a rational, positive, collegial way. Right? And again, someone may come at you pretty harshly, take a breather and respond the way you want to be talked to.

Biagio: Also, if you happen to be married for the person you’re working with, as I am, and that person you know feels that perhaps she should criticize you, I find that taking a breather before I respond often helps as as does reminding myself that I married a woman who’s way smarter than me. But that’s that’s a whole that’s a whole other story for another time.

Joke: The funny part is, is that I actually take lots of breathers before I even give you the criticism.

Biagio: She’s like, oh, about the car, Biagio better take a breather and it’s gonna get ugly.

Joke: Yeah, it’s hard not to take it personal between the two of us.

Biagio: It is. But we’ve learned over the years we sort of we sort of know how to how to critique each other in, like, the nicest possible way. And it usually ends, I think, with a hug or a kiss.

Joke: Yes, sometimes.

Biagio: Or sometimes it ends with me. Like leaving and walking around the block for ten minutes.

Joke: And then coming back and then doing my note and then going, oh honey, you were so right. This was such a great note.

Biagio: Going right, honey. That’s why I’m so lucky to be married to you. Married out of my league. Okay, let’s move on to point number three.

Joke: This is another one that’s easier said than done, but it’s reflect and assess, right? So you’ve gotten the nodes, you’ve calmed down. Now it’s time to kind of reflect and assess on these nodes. You know, is it is this from someone you respect. Is this, you know, just trying to get your head around it, but also being honest. And this is the hardest part, especially when you’re emotionally involved in your projects, is being honest about the validity of that criticism. Right. And so, I think this this one probably applies more to if you’re getting notes involving your skills set, you know, or specific thing where you’re like, okay, let’s reevaluate. Let’s let’s assess what, you know, what did I do. Right. What could we improve on and those kinds of things. But sometimes there’s Pacific notes that you get on a project that you’re like, wait, I thought that was clear. So okay, so let’s reevaluate. Clearly they’re not getting something. Where did we where did we miss something?

Biagio: And I think it’s always good to assume, whatever the critique is, when you reflect and assess, you know, whether or not you agree with the critique to go, okay, well, something caused this question or this issue to rise up. Something is something is causing me to get this critique, whether it’s exactly what is being related to me or not.

Joke: Which leads us to point number.

Unidentified Voice: Four.

Joke: Specifically about taking criticism more as suggestions and not rules.

Biagio: And really good point, really good point by these two authors, by by Chris and Shannon.

Joke: Because as Biagio just said, it’s like as you’re reevaluating and saying, okay, something isn’t quite working. I’ve found particularly that a lot of the network executives are trying to be helpful and they’re trying to, you know, say, hey, well, why don’t you do this instead? And a lot of times when you do that, they may not like that either. So if you have a network executive who, when they give a note, gets to be very literal or is like, I need to know some notes, show me that you did exactly what I asked for, then you’re kind of stuck in that pattern. But if you have network executives who give you nodes that are a little more broader and saying, hey, you know, this isn’t quite working for me, or can you clarify this? Then you, as the producer can then decide what’s the best way to clarify certain things. So again, taking criticisms as suggestions, as markers that something is wrong or something here isn’t working, but then it’s up to you to kind of, you know, figure out how to fix those.

Biagio: Yeah. And listen, I’m going to take a slight detour here for a second and say, look, we’ve been in a business for a long time. We’ve worked with a lot of network executives over the years, and they all have their own unique ways of communicating. There are going to be times when the critiques really are just wrong, you know? And I think that that’s when it becomes really important to communicate and clarify.

Joke: Which brings.

Biagio: Us to brings us.

Joke: To play.

Biagio: Point number five.

Joke: So it’s not a detour, babe. It’s your nice night.

Biagio: There’s a Segway.

Joke: Segway segue. So yes, if you find that a certain note isn’t making sense or certain criticism confounds you and you’re like, wait, what? I didn’t do what the idea is to maybe instead of getting defensive or fighting, it is really just asking for clarification. And that’s point number five is ask for the clarification. If you think something isn’t justified or something isn’t really working or you’re you’re, you know, the suggestion that was given to you seems to in your mind, you know, is going to create further problems within the story or whatever is to really ask for clarification. And it’s something we try to do a lot, especially when we’re able to be in the room with a network executive when watching a cut or when having, you know, creative meetings at the beginning of a project to start things off with is to to really ask for clarification. And I think we actually did a podcast on this generally about taking notes and and asking for clarification up top at the beginning of a project will help you, you know, at the end of a project as well, because if you’re all on the same page, you know, that helps a lot.

Biagio: As well. Yeah. And I can’t remember which of our 85 podcast episodes it is, where my head is.

Joke: Not 85 and it’s not one through five.

Biagio: Yeah. But I will tell you that I will link to it. And again, you’ll be able to find that link at producing com slash A5 in the show notes.

Joke: And so then it really just leads us to the last point.

Biagio: Point number.

Joke: Six.. Which is being positive. A lot of times in the notes process or in criticism is very easy to get down.

Biagio: What do you mean.

Joke: You know, and listen. We speak from experience, you know, when everyone is really trying their best and working hard and trying to make the best project possible, you know, and trying to satisfy the client and still being inspired and inspiring the team and all that stuff. It’s it’s sometimes it’s hard to stay positive, but it’s important, even if that positivity is, you know, this too shall pass.

Biagio: It’s important.

Joke: To stay positive and, you know, kind of not give up on your project. You know, it’s about finding ways to either work together better. If the person that you’re getting criticism from, you know, it’s helping that communication be better and more productive, you know, or just trying to understand how certain people know and and getting on the same page. I think that helps a lot in any form, in any relationship, is just learning how best to communicate.

Biagio: It. Does staying positive, you know, it’s one of those things that it’s funny now because I say it now and I’m like, oh, I got to stay positive when, you know, when you get into a show and you start dealing with a bad executive or you start dealing with somebody and it doesn’t happen all the time, but it happens. And I think what I, what I try to do again, my Jedi mind trick, like I just have to remind myself that it really wasn’t that long ago that I was delivering pizzas for Pizza Hut. Like like I wash dishes at Pizarro’s family restaurant. I beg groceries at Renee Regas in Parma, Ohio. All great jobs, by the way. But like, I have to remind myself, like, I’m so lucky that I get to work in film and television. And yes, sometimes it can. You could take things personally and your vision can get messed with and things can happen. But if you’re lucky enough to work in this business, I think that in and of itself should just keep you positive by default. Like like if I had to go back to bagging groceries, I would do it with a smile on my face. But I can honestly say that between, you know, the jobs I had that help me pay through, you know, pay my way through high school and college and finally getting to work in film and TV like I like where I’m at now. So that in itself helps to keep me positive.

Joke: Well, that’s good to know. So next time I have a note, I could be like, hey, you could be bagging.

Unidentified Voice: Groceries.

Biagio: You could be delivered pizzas anyway.

Joke: So to wrap things up, don’t take it personally. Remember to take a breather, reflect and assess. You know, take the criticisms as suggestions, not rules. Ask for clarification and be positive. And I think Chris Palmer and Shannon Lawrence and Real Screen Magazine did a great job at kind of breaking those things down. Again, all easier said than done. But I think a big thing to take away from this as well is, is learning how to be the person who gives criticism, right? It’s it’s we’ve all gotten criticism. We all get criticism daily coming up in this business. It’s just an inevitable part of the job. But when you find yourself in a position where now it’s your turn to give criticism, just remember what it was like to take it. So and I think that’s good for for all of us to remember, you know, there’s no need for sugarcoating things. But, you know, being being clear and being helpful and, you know, understanding it’s a collaborative effort and that we’re all on the same team with the same goal is, is is always a good reminder.

Biagio: So there you go. So again, you’ll be able to find show notes and hopefully links over to Chris Palmer and Shannon Lawrence. If I can dig some up over at Producing Unscripted five. And as always, as many of you know, we started this podcast not just to help you find your way through the world of unscripted television, but to give you a pathway to pitch to us. Those of you who would like to, we do have a portal. There is a whole process and we don’t team up with very many people, but we do respond to every submission we get. And we do that because when we were trying to break in, nobody would do that for us. We always said if we ever get successful, we’re going to find a way to help people pitch their shows, whether to us or anybody else. So this is hopefully our way of giving back. If you would like to find out more about pitching to us, or would just like to follow this podcast on a regular basis, just head on over to Producing Unscripted and sign up for the newsletter, and you’ll get some directions on how to pitch to us. So there you go. We’re going to be back in another two weeks. I think we’ve got a few more left in us for this year. Right, Joe?

Joke: Yeah, I mean, yeah, I guess so. I like two more and then as valid a break.

Biagio: Yeah. So we should hopefully have two more podcast episodes here in 2016. And then in 2017 will be the year we finally break 100. Look out everybody! Woohoo! In the meantime, everybody have a great night. Thank you so much for for spending some time with us.

Joke: And we’ll talk in a couple of weeks.

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