Discussing Headshots with the Wall Street Journal

Client and design director Christine Aaron looking stylish and radiant in her headshot.
Check out some of her amazing design work here.

If you’re interested in taking your professional image up a notch, check out a small feature I had in The Wall Street Journal discussing headshots and crafting a stylish professional portrait.

View the article here: Is Your LinkedIn Headshot Holding You Back? How to Master a Stylish Professional Portrait

With social media really coming into its own in the 2010’s, having a professional photo of yourself is more important than ever before. Especially if you’re someone working in the corporate sector. Whether you’re applying for a job, a professional with their own website, or a company wanting to project a professional image to their clients, a quality headshot can go a long way in conveying you or your team are right for the job.

You’d be surprised at how often people downplay the importance of hiring a professional or prefer to just snap a photo on their cellphone. If you have an eye for photography, doing it yourself can be an option. But my suggestion would still be to hire a professional. Someone who can help you with posing, selecting wardrobe and flattering lighting, and retouch your image in a way that’s not overdone or…unbelievable. Trust me, the benefits outweigh the cost.

A big thank you to The Wall Street Journal and journalist Ashley Ogawa Clarke for the feature. I’m humbled and thankful for the opportunity. I’d also like to extend a huge thank you to my client Christine Aaron, a brilliant designer, who graciously lent her time and image to be featured in the article.

If you’re in need of a headshot or just want to see more of my headshot work, you can do so here at www.jwheadshots.com.

More to come!

Art and Entitlement

Artists are an interesting bunch. Creative, imaginative, clever, funny, enthusiastic, passionate, driven, and determined. But one characteristic that I find amongst many artists (myself included earlier in my career) is an often strong sense of entitlement. Expecting validation, praise, and success just because “you’re working hard”, “you put everything into this”, or simply because you made something and think it deserves attention and acclaim.

Of course, there’s a commercial component where you hope people like the thing you create enough to purchase it so you can earn a living. That’s fine and healthy. Entitlement is not.

I hate to break it to you. No one gives a shit about your art. The sooner you accept this, the better off you’ll be.

Ooooo you made this thing? And spent hours on it? Days even?

So what? Who fu*kin cares?!

Not me.

Not your mom.

Not your dad.

Not your boyfriend.

Not your girlfriend.

Not your Tinder date.

Not your Amazon delivery person.

Not your teacher.

Not your personal trainer.

Not your accountant.

Not your sister.

Not your brother.

Not your nephew.

Not your offspring.

Not your dead relative.

Not the barista at Starbucks.

Not the models.

Not the actors.

Not the producers.

Not the flight attendant.

Not the Uber driver.

Not the waiter.

Not the hostess.

Not your followers.

Not their followers.

Not your dog.

Not your cat.

Not your plant.

Not the subway riders.

Not the person next to you in traffic.

Not the person next to you in line.

Not your agent.

Not Taylor Swift.

Not Beyonce.

Not Elton John.

Not Zendaya.

Not DiCaprio.

Not that influencer you worship.

Not the universe.

Not your God.

No…one…cares.

Now, with this knowledge that no one gives a shit, will you still paint, draw, sing, photograph, film, produce, dance, sculpt, animate, invent, design, program, write, perform, act, play…create?

Will you do the thing you do everyday even if a marching band and cheerleaders aren’t following you around 24/7 telling you how amazing you are? Will you create even when your IG post only gets a handful of likes?

If so, you’re on your way.

If you need validation or praise to do your work, you should probably call it a day. You don’t need that sort of stress right?!

This probably isn’t for you.

It’s not important that others care. It’s most important, that YOU care.

I hope this helps give you some perspective.

Favorite and Least Favorite Films of the Year

Now that the year’s coming to a close I wanted to reflect on some of my favorites, starting with the some films I loved as well as a few that disappointed.

FAVORITES

1. Oppenheimer

Christopher Nolan’s magnum opus. A utter tour de force in filmmaking. I loved Oppenheimer so much I saw it 5 times. The visuals, the soundtrack, the story, and the superb acting by the stellar cast makes it the standout picture of the year for me. In 70mm IMAX, it was truly a visual and auditory movie-going experience that only the original Avatar could rival for me. I think Cillian Murphy is a shoe-in for Best Actor this year as his portrayal of Oppenheimer is both nuanced and alluring. Great performances by veterans such as Matt Damon and Robert Downey Jr. add to the tension and urgency of the film’s plot. Florence Pugh’s performance deserves a mention too as she commanded attention in every scene she was in. This is a biopic at its best. It often feels like we’re not watching our favorite actors but real people in the actual time period. From the sets to the wardrobe and the cinematography, it’s like peering through a time portal.

I’d be remiss it I didn’t mention the soundtrack. Ludwig Göransson’s haunting and powerful compositions underline the drama on screen perfectly. The booming and goosebump inducing synths of songs like “Can You Hear the Music” call on mental pictures of atomic explosions, fitting for the subject matter of the film. When I first heard it, I assumed it was Hans Zimmer, but Göransson has made a name for himself off the stellar pieces on the soundtrack. Best Original Score hands down.

I can’t praise the film enough. I sort of credit Oppenheimer with make serious, grounded films popular again and I think the industry is starting to follow suit. After years of superhero drudgery, I think we’re getting back to simpler stories set in real, more natural settings. I welcome it as it’s time for a shift in storytelling for a while. Kudos to all involved with this wonderful film.

2. Godzilla Minus One

This film caught me and apparently Hollywood completely off guard. Godzilla Minus One is not simply your typical giant monster film. Sure Godzilla does wreck shit when he shows up, but the story focuses predominantly on the life of a military deserter as he deals with the shame of bailing on his duty during World War II. Taken place during Japan’s reconstruction after the damage of WWII, the film presents a side of Japan rarely seen in film, at least in the mainstream. The soldier’s story goes from one of survivor’s guilt, shame, and cowardice to honor, repentance, and courage. There’s also a touching love story thrown in the mix. It’s both scary, feel good, and emotional which was not what I was expecting from a Godzilla film.

It also should be praised for showing the big studios how to make a successful mid-budget film. With a budget of only $15 Million, the film has grossed over $78 Million worldwide. Don’t let the low budget put you off, the film looks beautiful and has a very unique visual style. No “zoomer” jump cuts all over the place, just balanced compositions, smooth edits, and steady camera work serving to tell a great story. I can’t praise the film enough. I think many people made the mistake as I did and just assumed it was another Godzilla film. This completely trounces the America Godzilla releases and shows you can tell a big monster film with a human story at its core. Go see it in theaters while you can.

3. The Iron Claw

If Oppenheimer was Christopher Nolan’s best work, The Iron Claw is Zac Efron’s hands down. I know some probably still see him as a Disney kid, but Efron really comes into his own in this touching and tragic story about a wrestling family. Just simple folks in the state of Texas trying to do something great but it all falls apart the closer they get to the goal. Efron’s character takes an emotional pummeling in the film and his depiction of these moments is perfect. Strong yet vulnerable. You root for him, feel terrible for him, hell you wish you could give the guy a hug by the end of it. Holt McCallany’s performance as Fritz Von Erich was great as well reminding me of Allison’s Janney stellar performance in I, Tonya. He may be a sleeper in the race for Best Supporting Actor. The overall cast is just fantastic and I can’t lob a criticism at anyone, top marks all.

Due to the emotional subject matter of the film, I can see it not being everyone’s cup of tea, but Efron and company can be proud of this one. If he doesn’t get an Oscar nom, it will be a tragedy.

4. Bone Tomahawk

An older film releasing in 2015, Bone Tomahawk is a brutal low-budget western starring Kurt Russell alongside one of my favorite actors Patrick Wilson(who I believe is a vampire as the man does not age). Wilson’s character’s wife is kidnapped by a mysterious Native American tribe and Russell, playing the sheriff of the small town, assembles a group of willing and disgruntled men to go on a rescue mission. Apparently this tribe are cannibals so they’re working desperately against the clock to pull of this improbable rescue. Think Predator but set in the Wild West.

Performances are all-great. Matthew Fox deserves a lot of praise here and he plays an absolute badass a la Doc Holliday in Tombstone. Loved seeing him in a more high-profile project. The film is obviously shot in the mountains of Los Angeles and you can tell the budget was pretty tight, but if you can overlook that ,what you find is a film full of brilliant acting, intense moments that will have you on the edge of your seat, and a brutality akin to your favorite horror films. It’s raw and real and I loved every minute of it. I look at it as more of a play with simple sets where the actors can just perform. And they bring it. The Native Americans in the story are BRUTAL. Their deadly and cunning tactics make them a formidable foe for the unsuspecting group. They almost remind me of the Mayan’s depicted in Mel Gibson’s Apocalypto. And they’re ability to hunt is very reminiscent of The Predator. They give way more than they take and make you realize you should never underestimate a tribe even if they’re not using advanced weaponry.

A great film and one of my all-time favorite Westerns.

5. In Cold Blood

Another oldie but goodie. I’d read Truman Capote’s excellent novel years ago and always wanted to see the film. Popping up in my Amazon recommendations I decided to give it a watch and found myself glued to the screen. For a film made in 1967, it feels very modern at times in terms of cinematography and acting. Yet on the other hand, it can often feel like an Alfred Hitchcock film with loads of tension, misdirection, and small details that make you smile when you catch them. Even the order in which the story is told is smart. How does one tell a story about the brutal murder of a family but humanize the suspects? Or give the family the proper respect? In Cold Blood walks this tightrope perfectly depicting a loving, caring family in the path of a murderous couple of lowlifes with troubled pasts. By the end of it, you want them to get their comeuppance, but you also can’t help but wonder what everyone’s life would have been like had they taken a different path.

I loved the film so much I bought it on Blu-Ray. It’s my first film I’ve purchased that’s part of the Criterion Collection and I plan to collect more. Recommended.

Not all was rosey this year with films. I saw several duds, but these two stand out most.

Disappointments

1. Maestro

*sigh* Maestro is my most disliked film this year. Bradly Cooper is…fine in it. Carey Mulligan is fantastic and should get a Best Supporting nom, but the film is just bleh. Self-indulgent and sparse are two words I would use to describe. If I had to sum it up in one word, it would be pretentious. It utterly fails as a biopic. Given the title is “Maestro” and depicts the life of conductor Leonard Bernstein, (You know the composer of such beautiful pieces such as Maria from West Side Story, Candide Overture, and Psalm 148?) the film is pretty light on the actual music. Nor does it bother itself with delving into Bernstein’s connection with music. His passion for the art form. Why did he choose to be a conductor? A composer of music? What is his process? What type of music does he enjoy? The audience is given little in regards to his music in favor of telling his story of being a closeted gay man and the many affairs he had while married to his wife Felicia Montealegre.

Not to say that his secret life isn’t interesting or worthy of study, I don’t think that alone gives us an idea of the man himself. All we get is that he’s smitten with his wife(at least publicly), sneaks around with men, conducts the occasional symphony, and bemoans living this hidden life. Additionally given that Bradley Cooper is on the poster, all in the trailers, he’s not as present in the movie as he should be in my opinion. Compare that to Oppenheimer where the majority of scenes feature Oppenheimer. There are so many scenes where Bernstein is absent and we’re given a glimpse into the other characters lives and thoughts on events, but that precious screen time could have been reserved for more character development or backstory on Bernstein. It almost feels more about his wife than him. If you’re not familiar with the man, you won’t leave this film feeling like you know him or his work. And that to me is why it fails.

To end on a positive note, it’s beautifully shot. The costumes are great. Carey Mulligan is magnificent. I love her hair throughout the film.

2. The Boy and The Heron

I am a Studio Ghibli fan. Like, before it was cool. Don’t be coming around talmbout, my favorite film is “Spirited Away” you casual! Kidding.

But as a fan, it pains me to say that The Boy and The Heron is Miyazaki’s worst film. Full stop. It’s beautifully animated, but the story is an incoherent mess. Events just happen, people appear/disappear and nothing’s explained. The main character’s mother tragically passes away in a fire and he blames himself for not being able to help her. Okay, I’m with you. His father remarries, her sister, who is the splitting image of the boy’s mom and it’s completely glossed over. Then a bird, the titular Heron, starts stalking him eventually leading him to some magical world where he meets his mom as a teenager with magical fire powers. Does he stop to tell her “Hey, you’re my mom. You passed away and I feel all alone. I miss you so much.” Nope, just glossed over and not explored. He spends time in the company of this random old lady, who’s now younger in the alternate world, than he does with the young version of his mom. He has literally no emotional connection to this woman but they chose her to be his main ally on the adventure. Imagine all the possibilities if it was his mom instead. To learn more about her. To tell her what happened. To deal with his grief. We get none of that. It’s just dumb. And critics are applauding it like it’s some though-provoking art piece. It’s dreck and dreadful. Ghibli films are also known for their stellar soundtracks. This one has less music than Maestro. No memorable theme. No memorable characters. It’s just confusing scene after confusing scene. I know it’s Miyazaki’s last film, but I refuse to remember him for this one. Don’t waste your time. Now, time to watch Princess Mononoke for the 1000th time. That’s a movie.

3. Killers of the Flower Moon

I love Martin Scorcese’s films. The Aviator starring Leonardo DiCaprio is both my favorite DiCaprio film and Scorcese film. His films have a unique format, wit, solid acting, and good to great cinematography. From the initial trailer, I admittedly wasn’t all that interested in Killers of the Flower Moon. Which was surprising as I read the book during Covid and enjoyed it. The trailer just looked boring and somewhat typical to me. It was trying to hard to be edgy. And I felt like I’d seen this film before.

Upon finally viewing it, I found it self-indulgent, exploitative, and very insensitive with the ending. I’m usually very cool headed about my response to a film touching on social issues or tragedy, but this one left me miffed. I wanted to see more scenes with Lily Gladstone, who in my opinion should have been the lead. I think choosing to tell the film from the perspective of her conniving husband was the wrong choice. Additionally the film is way too long and starts to feel like a slog after the 2 hour mark. The plight of the Osage people is one that should be told, respected, and prevented from happening again at all costs. But Scorcese’s film isn’t the one to portray the ordeal in the most efficient, insightful, and sensitive manner. A beautiful, but bad film.

Inspite of there being some duds here and there, I think this year was a great year overall for films. Everyone seems so glued to some series or another on streaming platforms, but I still enjoy a great movie. The movie going experience is still fun for me and we’ve been fortunate to get some very inspired films this year. I’m not sure if we’ll have to wait a bit in 2024 due to the strikes earlier this year, but I’m hoping next year is even better.

Can One Be Both Critic and Artist?

Do you think this industry has a thick enough skin where you can criticize someone’s work while also trying to work in the same industry?

Probably not.

I mean, you could criticize, but probably not publicly. They’ll destroy you and “make sure you never work in this town again”.

But screw it, I’m not a fan of Martin Scorsese’s Killers of the Flower Moon. I found it self-indulgent, too long, inconsiderate, and captured entirely from the wrong perspective. I almost walked out of the theater when I saw the ending. I love Scorsese’s films (The Aviator being my favorite. It’s also my favorite DiCaprio film.), but this was not his best work.

I know the critics will applaud it because they don’t want to critique a movie about the calculated and heinous murder of indigenous people. Of course the subject matter is important. The format used to tell their story? Abysmal.

This should have been better. The Osage people deserved better.

Welp, guess I’ll never work in Hollywood.

C'est la vie.

You Have to Do The Work

This is a tough love post.

Rapper SL Jones once said, “Ain’t no way around the grind, to shine, it takes work. Oh you in it for the perks, so you quit it when it hurts…”

I agree with the sentiment.

Oh is a gangster rapper too low brow for you?

Proverbs 13:4 says: “The soul of the sluggard craves and gets nothing, while the soul of the diligent is richly supplied.” (ESV)

The artist’s path is hard and I question the motivation and intentions of many who pursue it. It looks glamorous from the outside. A lifestyle full of travel, freedom, fame (no matter how small), and millions of dollars. lol, I wish. It’s anything but.

Not every actor becomes Tom Cruise.
Not every photographer becomes Avedon.
Not every singer becomes Beyonce.
Not every athlete becomes Lebron James.
Not every tech bro becomes Elon Musk.
Not every writer becomes J.K. Rowling.

And yet there are countless professional actors, photographers, singers, athletes, tech bros, and writers earning a great living while not being world-renown, well known, multi-millionaires.

So if you’re not one of those, 1%, rare air types, would you still pursue your passion? Do you genuinely love your art? Or are you just in it for something else?

With some people, you can just tell they don’t have a love for the art. Their motivation is fueled by something far less noble. Probably something egotistical like validation from their peers or family, an outlet to pick up girls, to be famous, etc. If they did have a love for it, they’ll endure the grind. It would take up so much of their free time. They’ll put the work in day in, day out. They’ll study their craft, constantly seek inspiration, think of new ideas, and comes up with new approaches to their business/career goals. You’ll see their growth and, year over year, they’ll be much better than before.

I think many get into this field expecting a cake walk. It’s anything but. It’s schlepping gear around, being paid less than what you’re worth, messing up on a big job, dropping the ball on a great opportunity, colleagues being flaky, creating something amazing yet no one cares, and feeling like you’re in this seesaw battle of winning and losing week after week. One week you’re up and the next you’re down. This especially applies to those just starting out.

It won’t always be this way, mind you. But in order to get there, you can’t avoid the work.

Unless you’re a nepo baby, there’s no inheriting success.You have to work for it and you should WANT to work for it. The work you put in will make you appreciate the successes you obtain, no matter how small. But if the grind is too hard for you, you don’t feel validated, financially secure, admired by your adoring fans, then get a job. No one cares to hear you whine incessantly, act bitter or jealous, or just be downright insufferable to be around because you’re not where you want to be.

Don’t make friends with self-pity.

Put your head down, nose to the grind stone and do the work. Once you look up again, you’ll be amazed at what you’ve created.

And before I go…

But you have to do the work.

Hope you enjoyed this post!