Countdown to MULTIPLEX 10

Coming to select theaters, film festivals and Vimeo on Demand on January 29th, it’s MULTIPLEX 10, the animated comedy short about the film-loving and customer-weary staff of the fictional Multiplex 10 Cinemas, based on the long-running webcomic by creator Gordon McAlpin. We’re proud to be involved in as an associate producer, and look forward to announcing initial festival dates on release day, but in the meantime, here’s the trailer:

That “yooow” at the 0:08 second mark? That’s how we’re feeling about it, too.


48 Hour Film Project 2017

For the third year in a row, Strangewaze represented at the 48 Hour Film Project Chicago, as I returned again to the lineup of judges.

Each year, teams around the world (I mean, look at this list) must write, produce, cast, shoot, and edit an entire short film in a single weekend. All teams must incorporate a specific line of dialogue, a character of a certain name and profession, and a specific spot. Additionally, each team receives a genre to which they must adhere. To complicate things even more, participants have no idea of their genre, dialogue, character or prop requirements until the Friday night kickoff, and all films and paperwork must be completed and handed over by Sunday evening.


This year, each film had to have a character named either Ryan or Rachel Hammersmith who must be a pest control professional, each film had to use the lie of dialogue, “Where did you get that?” and had to use a manilla envelope as a prop, and make it work within their assigned genre.

The teams brought their a-games, with films that arrived at my door a few days later on a thumb drive ranging from the revenge of a robotic housekeeper to heartfelt confessions on a porn set to daydrinking to the power dynamics between a woman and her cat.

In years past, I’ve noted the rather homogenous crowd of participants at this event, with most of the directors being white and male, and mostly casting white people. But, let it be said, this year, I found it extremely positive to see the needle moved a bit here. Most notably, actors and actresses of color in the lead roles of films that weren’t about race, but simply depicted humans doing human things. (Indeed, there are directors actively working to normalize casting a variety of races, ethnicities, abilities, sizes, etc in roles for which race, ethnicity, ability, size, etc is not specified. Fawzia Mirza and I talked about this on the radio a year ago.)

Ok, the films. Yes.

Hammersmith: Hurdle of Dreams took home many awards at the Best of Chicago screening and awards presentation including Best Film, and the reasons are clear: it’s funny, it’s well made, it switches between story and story-within-story well, and cinematically.

But, to say the voting was easy would be untrue. It wasn’t. There were a lot of beautifully made films. Lovebug, which took second place and several other awards, was also well made, charming, fun and smartly driven especially by the scenes in the therapist’s office.

Religio, which earned an audience favorite award, was another of the standouts for me. I loved the atmospheric feel, the set, the dynamic between the two characters from the jump, the “oh, shit!” twist, and, creative use of the Ryan Hammersmith character, for sure. (Spoiler: He’s dead the entire film.)

Knock Knock (no video available as of this writing) was another I loved; atmospheric, unnerving, simple, and well done. Actress Julie Ramos was impossible not to love in this film, and she conveyed an unbelievable amount of vulnerability, strength, fear, and fret in this short film, despite hardly any dialogue.

Mockmentary Hammersmith & Son was another audience favorite and smart, sweet definite standout addressing mother-son dynamics and expectations, as well as sexuality without resorting to a flat caricature. Another standout was Jeanie, a love story in which a man and a… cockroach fall in love. Actor Damian Anaya has an endearingly familiar and easygoing quality and he brought depth to a performance that could have been handled too lightly (I mean, his character does fall in love with an insect with a woman’s head added to it in post-production) that makes it easy to root for his bugspray-huffing Ryan Hammersmith.

Karen Wins took on major systemic workplace sexism and the “death by a thousand cuts” phenomenon through the fun and light lens of video game ass-kicking and punching oppressors, while Trypt, an imagining of Lyft for time-travel, was good, creative fun, and pulled off the hard-to-make-it-look-or-land-quite-right combination of atmospheric darkness, comedy, scenes filmed in cars, and special effects.

The Box (yet another I wish I could link for you) by BearCat Productions had some major style elements, with cinematography and editing I absolutely loved, as did Namiram, which pulled off the patient pacing of a subtitled foreign film alongside dreamy, emotional cinematography.

All that in 48 hours, and those are just a few highlights.

Hammersmith: Hurdle of Dreams will represent Chicago at Filmapalooza 2018 in Paris, competing with films from other parts of the world also made in just 48 hours. (This film from Prague won last year.)

Follow Strangewaze and Amy Guth on Instagram for photos from this event and others. 

Summer box office slump signals necessary industry shakeup

It’s 2017 and everything is dying. Bees are dying at an alarming rate (more on that later), the retail industry has gotten so bad that Nordstrom is testing a location with no merchandise for sale on-site, and chain restaurants are seeing a major sales slump.

In recent weeks Hollywood and traditional movie theaters have been fingered as the next victim. While Millennials are typically charged with these “killings,” the New York Times reports that Hollywood executives are calling out movie review site Rotten Tomatoes as the industry’s killer. Execs fear that seeing a little green splat next to a film’s name keeps would-be moviegoers out of the theaters, and that boiling a movie down to a “freshness” score is just too simple.

Despite these fears, numbers crunched and published in a post on Medium by Data and Analytics Project Director Yves Bergquist this week show that, “Rotten Tomato scores have never played a very big role in driving box office performance, either positively or negatively.”

Dozens of other post mortems have been written trying to get to the bottom of Hollywood’s worst summer in more than a decade. Some point to stale sequels and franchise reboots while others blame the rise of streaming services and high-quality original series offered on those platforms, such as Netflix’s 2016 summer hit Stranger Things and this summer’s dominator, HBO’s Game of Thrones.

While all these are certainly factors, it’s important to pay attention to which movies succeeded.

Quirky, offbeat films like The Big Sick and A Ghost Story — in which Casey Affleck literally walked around as a ghost in a bed sheet — drew praise from critics and audiences alike upon hitting theaters. Spider-Man: Homecoming, Guardians of the Galaxy Vol. 2, and War for the Planet of the Apes proved audiences are still interested in superheroes and blockbuster franchises so long as their characters and storylines are still creative.

Perhaps most notable was the success of Wonder Woman and Girls Trip. Both were undisputed hits this summer. Wonder Woman is currently the second highest grossing film of the year. Girls Trip, labeled a “box office anomaly” and “sleeper hit,” was the first comedy to make $100 million at the box office this year and the first film to do so that starred and was written, produced, and directed by African Americans… ever.

The takeaway here, according to Vox, is that the formula for summer movie success is changing, forcing studios and filmmakers to experiment. Looking at this summer’s successes — particularly Wonder Woman, The Big Sick, Girls Trip, and female-focused The Beguiled — it’s clear that audiences are hungry for greater representation and diverse characters in what they watch… which is exactly what aim to do here at Strangewaze.

Hollywood seems to be entering a brave new world. But as far as we’re concerned, the future of filmmaking looks bright.

Filmmaking on WGN Radio

Filling in last night on WGN Radio for Patti Vasquez, I jumped back into my old routine of hosting the 11pm to 2am shift, which I did for a couple of years before moving to the Saturday 7-9pm weekly time slot I have now. It’s a deliberate schedule of caffeine and slap-happy-ness, followed by a big shot of Valerian tea to undo the caffeine and get to sleep after being radio-acceptably alert.

But, during the late-night caffeine dance, my fill-in cohost, Jen Bosworth, and I talked with filmmaker Marie Ullrich (and bike messenger Margot Considine from Cut Cats Couriers— an employee-owned bike delivery service) far too briefly about filmmaking, filmmaking while female, bike messengers, fear, and hesitation.

Listen to full show at

Margot Considine (Cut Cats Couriers), filmmaker Marie Ullrich, Jen Bosworth and Amy Guth | WGN Radio, Chicago

State of the Projects: Summer 2017

Guth-4744Strangewaze, ever devoted to backing and creating film and multimedia work by and/or about underrepresented voices, got summer off to a well-scheduled start, as you can, no doubt, tell from our current projects online, our social media feeds (FB, Twitter, Instagram), as well as my own Twitter and Instagram.

Documentary: my documentary about online harassment and abuse of women is suddenly moving very fast, and has taken some interesting (read: whoa) research and production turns in the front half of this year, given the current climate of American political landscape and how that manifests in online behavior. As a result, we went heavy on both research and reporting in the initial months after the election and Inauguration, continue to do so, and are adding very necessary political layers to the project.

We are, of course, hopeful that the First Lady will make good on her vow to fight against online “bullying” as she calls it, but, as with everyone else, we’re waiting to see what actions she might take in that regard. In any case, we’re feeling good about this next leg of the project. (Prepare for an upcoming flurry  of behind-the-scenes photos and videos on social media.)

“The Timemaker” film: We’re very excited to be producing this narrative feature with an all-female writer, director, lead and producer team. Filming in Illinois in late summer/fall, we look forward to sharing behind-the-scenes photos and video, blog posts, and even updates as we move along with that. As we’re just entering production, we can still make room for producing partners, and hope to do so in order to help make “The Timemaker” the best project it can be. Follow the project on its website on FacebookInstagram, and Twitter, to watch it unfold.

“Multiplex 10” animated short: We’re also excited to be on as Associate Producer partners for this project, too. Based on Gordon McAlpin’s long-running web comic, “Multiplex 10” is an eleven-minute animated short about a movie theater usher and a film snob who come to realize they have a little common ground in their shared — yet very, very different — love of film. It’s currently in production, and you’ll be hearing much more about it soon. In the meantime, follow the project’s progress on its website and on Facebook, and listen to McAlpin on my WGN Radio program talking about his work.

We are partnering on a couple of other projects, too, in various capacities, so please follow us on social media to stay up-to-date on the latest, and for sponsor/partner  opportunities, job postings and the like.

Strangewaze Publishing: We’re also moving quickly to prepare to more officially launch our publishing division, which will be focusing on digital niche publications, memoir and non-fiction (though, never say never on fiction, I suppose), from, primarily, underrepresented voices.

As ever, if you have an idea burning a hole in your pocket, or for partnership and investment opportunities, please email me and let’s see where the conversation goes.

We hope your summer is off to a great start, too, and, as ever, appreciate your support, both in the community, at events, and through our social media networks.

Amy Guth
Executive Director, Strangewaze

How to be a great radio guest

Screen Shot 2016-09-26 at 12.58.17 PM.pngYou got a radio spot to talk about your film. Great! Here’s how to make the absolute most of it, and increase the odds of getting invited back.


  • Take a little time before the show to get clear about the key points you want to make.  It’ll all go by faster than you think. That said, prepare but don’t rehearse, and be flexible if the host takes it another direction. Roll with it. It’s a conversation.
  • Bring notes or printed articles that you may want to reference. Highlight important details on the page so your eyes can find them quickly– just be careful not to ruffle papers.
  • Avoid canceling at all costs. If you absolutely must cancel, do this:
    • Try to offer the producer a suitable replacement guest, and explain this person’s qualifications to your producer. Daily v. weekly shows will differ, but sometimes the producer might put you on the next day instead.
    • Let the producer know as soon as possible. Cancellations suck. Last-minute cancellations suck even harder.
    • At the end of the day, you’ve just made this producer’s life tougher, so be very kind, professional and apologetic about it.
  • Post about your appearance on social media, including info about how your network can listen in or find a rebroadcast later.
  • Bonus points: create a one-sheeter for your host to reference during the broadcast and email it to the producer once you get booked, or, if booked way in advance, within a day or so of your appearance on the program. This page should include the name of the project, your name and how to pronounce it, a website where listeners can go to learn more, whatever social media handles you prefer, and, if applicable, ticketing info, a few bullet points with interesting facts about the project, and a bullet point about the next milestone or event related to the project.

When you arrive…

  • Be. on. time. In fact, make a point to be early, so you can arrive and have a second to get your bearings and relax. (Also, once you’ve arrived, that’s one less thing for the producer to worry about, so you’re helping them to like you even more.)
  • Hosts are busy, producers are busy. Sit quietly in the green room until you are asked in-studio. (But, do prepare for an abrupt start once you are brought in to sit with the host. There probably won’t be a lot of time to “settle in.”)
  • Turn your phone off. You don’t know how far the sound can reach, and you’ll forget to turn it off once you get in-studio. And if your phone rings or dings or vibrates while you’re on the air…. it’s not gonna be pretty.
  • Producers will probably ask the correct pronunciation of your name and how to introduce you. Be ready with a quick answer. (Ex: “It’s ‘Guth’ like ‘truth’ and ‘filmmaker and journalist’.” Now’s not the time for, “Welllll, funny story. I kind of have three different job titles, you see…”)

How to be while on the air…

  • Don’t wear noisy jewelry. Even the tiniest little jingle form your fabulous earrings might register on the mic, so skip them.
  • Don’t give answers that are too short. Try to follow the rule of improv of “yes, and” (or, “no, because”) and add information when answering questions. One word answers are really bad, mmmkay?
  • Watch for vocal ticks like “um” and “like” and guard against them at all costs. Answer promptly and speak concisely, but don’t go so fast that you sound like you’re trippin’ balls.
  • Don’t feel like you need to be “broadcast”-y. Just be you. Be conversational. If you mess up or get tongue-tied, roll with it: nobody died. Keep going.
  • Don’t depend on the host to plug your book/film/award/project, etc. When you reference your project use the title/publication, etc, but don’t overdo it.
  • Speak the language of the audience. If you’re on a show specifically geared toward filmmaking, it’s probably okay to use a little bit of jargon since we’ll all know what you mean. But, if you’re on a show with a more general listenership, which is most likely going to be the case, don’t exclude listeners by using codewords and lingo; it won’t make you sound smart, and it will frustrate and make listeners not fully connect with you.
  • Don’t be afraid to jump in, but don’t talk on top of others. Rude, sure, but it also sounds like absolute, chaotic hell to the listener to hear many voices at once.
  • Be high-energy and positive. Not like four-cups-of-coffee-and-a-Redbull energy, but alert and on your game. If you’re tired or crabby, perk yourself up by jumping around or shaking your hands out, having a little caffeine, etc. Broadcast is exciting and you might have adrenaline already, so be careful not to over caffeinate.
  • Treat even the craziest of crazy callers with respect, no matter what. Take the high road.
  • Be genuine! Don’t be fake, or a jerk, or act or be over the top. Just be you. Broadcast, but radio especially, is just a conversation between two people. Connect with your host through eye contact. Be yourself. And remember, you got invited on the show for a reason: they want to talk with you. So, just do you.
  • Be mindful of the date your segment will be broadcast if you aren’t live on the air. If you’re taping on, say, a Friday afternoon, and your segment won’t air until Monday, don’t mention the weekend, etc. This also applies to referencing the weather.
  • Swearing. Don’t even. But, shit happens (see) and if you accidentally do, do not, whatever you do, say: “OMG, sorry, sorry, shit, I didn’t mean to do that! Sorry, OMG OMG!” Just keep going. Reason: if you’re on 7- or 10-second delay, your chatter will make it very hard for the producer to “dump” a few second of your audio in a seamless way. If you’re being taped to air later, you’re just going to give an editor more to have to cut out. (But, do apologize when you go to commercial.)
  • Speaking of commercial breaks: try not to chit chat during break about the topic you’re there to discuss, or, much at all. Save it for the air! Reason? You might have a really great moment with your host and trying to recreate it a few minutes later it on the air will sound rehearsed. When in doubt, take a cue from your host about how much conversation is appropriate during commercial breaks, as it does vary by host and show.
  • If you do chat during commercial breaks, don’t reference the conversation once you’re back on-air. It makes listeners feel left out of the conversation.
    If you absolutely must reference something you discussed with the host off the air, do it, but try not to do it too much. (“Like the thing we were saying on the break that was so funny…. “) Keep the listener/viewer in the conversation.

A word about being on the phone…

  • If you are going to be a guest on a program by phone, try to be on a land line. We know, we know. Nobody has a land line anymore. We know. But, try.  If you must be on a cell phone, be in a place where you get absolutely, amazingly, impeccable service. If your service sucks and you start breaking up on the air, there’s a good chance the producer is going to drop you to save the audio integrity of the show.
  • Do the segment in a quiet room, and never on speaker.
  • Be sure to turn your radio off, and let others know to stay the hell out of that room during your interview.
  • Pro-tip: take advantage of the ability to have your notes, printed out articles to reference, etc. in front of you when calling into a show.
  • Another word about phoners: it’s really, really easy for listeners to get very bored very fast when listening to a voice through a phone on the air. Take steps to guard against this by being energetic, professional, and over-enunciate. You’re already going to sound less clear just by virtue of the fact that you’re on a phone.

How to move while on the air…

  • Be really careful about not breathing into your mic. But do get close (really close) to mics in front of you, and try not to turn your head away from them. Same applies to being on air via the phone.
  • Remember: the show invited you to speak with them. Lean in, be interested, make eye contact with the host. Act like you want to be there.

A few special notes about eating and drinking…

  • If you are prone to getting dry mouth, pause to drink water when your host is speaking. Dry mouth is a super gross sound on the air. Super gross.
  • If you have to taste or sip on the air for a show, get away from the microphone, whether that means moving yourself away from your microphone for a second, or turning you head away from your lapel mic. Better yet, don’t eat or drink unless you’re on a cooking show, or you’ve gone to commercial break.
  • No gum, no mints. Ever. Nothing in your mouth. Listeners can hear it when you speak.

After the show…

  • Thank the host/producer/network on social media. Then, follow-up a day or so later with a polite thank you email to the producer and to the host. This will help you get invited back, especially if you take the time to thank the producer; hardly anyone remembers to thank the producer. Seriously.
  • If there is a podcast posted online, share it with your social networks, again making sure to properly tag the producer/host/show, etc. They’ll appreciate the effort.
  • Listen or watch your segment to check for vocal ticks (like saying “like” a lot, for example) so you can get better and better each time you make a broadcast appearance. It might really suck and be painful to listen to yourself, but do it anyway and help yourself improve.
  • Stay in touch, but not too closely. Keep the producer in the loop about big developments, ways you can be useful or offer expert insight on relevant news topics, but don’t drive them crazy with too-frequent contact.

A note about pitching producers…

Once you have been on the air a few times, and as your work progresses, you might find yourself needing to pitch a producer. Great! It’s important to build and nourish these relationships for the long-haul, so pitching is recommended.

First, remember that producers want every idea to be great. Think about it: when you give a producer a great idea, you’re making their job easier, so don’t timidly approach like they’re some kind of mean gatekeeper. Be cool, be friendly, and be brief. Use a straightforward, clear subject line. Be kind and don’t send something long. Just a “hey, I have this story I wrote. I’m willing to talk about x, y and z aspects of this subject. Here’s how to reach me today.” Boom. (And, it goes without saying: proofread– you are, after all, pitching yourself as an expert source.)

Amy Guth is founder/executive director of Strangewaze, a filmmaker, journalist and talk radio host on WGN-AM in Chicago. Follow her on Twitter at @amyguth

Read this: framing, mise en scene and building community

Think about it: The socially anxious framing of “Mr. Robot” and how it’s used to tell stories. On that topic, here’s an interesting post about how to build tension, and some tense-scene tips from the master.

How to speak movie: mise en scene. And, if you dig that, here’s an in-depth study of the term. Most importantly, here’s why it matters.

Cheap thrills: Got $50? Great, then you can afford cinematic lighting. So there. And, how to make a floating GoPro mount out of a plastic soda bottle.

Make it work: How to get people to come to your screening, podcast with Alex Petrovich. (ICYMI: see our post about how to master networking at film festivals and screenings without being a jag.)

Writers, write: What JFK can teach us about speech writing. Also, dig the power of a speechless statement and what Kurosawa can teach us about storytelling.

How to network at film festivals without being a jag

We’ve all been there, at a film festival event at which everyone is standing around chatting when someone enters the conversation in full-on schmooze-mode. It’s insincere, it doesn’t feel good, and, as is usually the case, it doesn’t get the schmoozer anywhere. But, on the flip side, we’ve also all felt the great feeling that comes from striking up a conversation that feels genuine, that has give and take, and that feels good long after the conversation has ended.

networking-at-film-festivalIt’s a delicate balance. We want to go into events prepared to shine, but we also want to be mindful of not trying too hard and looking like a schmoozy bullshitter. Here are some tips to keep in mind next time you find yourself at an event where socializing is on tap, so you can networking with ease and authenticity and make the most of the opportunity to build community.

Understand the reason to schmooze.
People who really excel at networking and building relationships are masters at finding out what they can do for other people. This alone can change your whole approach, if not your life. Seriously. Think about it. It’s not about going into the room and begging for your needs to be met. Nope, when it comes to networking, the people who are giving to others and connecting like-minded people together are coming out way ahead.

Before the festival, look at the website, its event calendar, and at related social media and take note of news related to the event, the people highlighted, and who is going to attend. Connect and follow social media accounts, both the official accounts of the festival and with people you might find who are posting/tweeting about the event. If there’s someone especially relevant to your work, you might even send them a chill “looking forward to meeting you” tweet as long as you do so with a completely professional and not-creeper vibe. Another route, if you are in contact with the festival or event organizers (and provided it’s not the night before because hello, busyness) you can shoot them a note well in advance and ask for an introduction to a particular person. Note, though, that this only works for an intro to someone relevant to your work, and will backfire terribly and make you look like a jerk if it’s just about connecting to someone famous. So, don’t do that.

Next, take a second and determine what you will have in common with others at the event. This seems goofy and simple, but it puts you in a more confident state to remember as you go in, especially if you’re feeling the pangs of imposter syndrome or sheepishness about what you might perceive as too-few project credits. Just remind yourself you’re a filmmaker/actor/whatever, too, and proceed.

The elevator speech is so dead.
Don’t open with your entire bio or some fake-ass line. The goal here is to get to “tell me more,” not to barf your entire resume or some boring pitch at every person you meet. Better plan? Have a simple and brief introduction and have 3-5 bullet points in your mind of things that are relevant and that you’re passionate about (passion reads positively) and work them into conversation as appropriate. But, also remember this: it’s better to keep it brief and light. If the conversation accomplishes its goal, then you will have another opportunity to give the other person more information later, so don’t drive yourself crazy trying to bare your soul to everyone you meet.

Be a hero to a wallflower.
If you don’t know where to land next in a room full of chatting people, go talk to the person standing alone. They’ll probably welcome your company because nobody wants to be the one standing in a room by themselves. And, don’t assume that by standing alone, this person is low-status; in fact, always assume the best and most empowering narrative for everyone you meet.

Be ready and be confident.
Having a rehearsed schpiel ready to go is going to sound fake AF, but knowing how to simply, briefly and confidently state your deal is important. Equally important? No self-undermining. Your body of work is a fact, so claim what’s yours– there’s a huge difference between saying “I’m a documentary filmmaker. Right now I’m doing a project about rollercoasters.” and “I sort of make films or whatever. I mean, not like huge ones, but like… you know. I’m doing one about rolelrcoasters. Well, not like famous ones, but like…” Blah blah blah. If you don’t believe in your work, nobody else will. It’s not endearing to undermine your work. Just say it. You work hard. Claim what’s yours.

Even if you’re new to the game, own it. Way better to say, “I’m working on my first feature,” than, “Oh, yeahhh, I’ve done a tone of films, sure. Yeah.” Be real. People can sniff out a bullshitter a mile away.

Also on that note, take a few minutes before the event and scan whatever blog and news orgs you regularly read beforehand so you’re up on current industry news, and the main headlines of the day. You never know when the big stories will come up in conversation, and you want to be ready. Bonus readiness plan? Read opinion pages and sites so you have a related op-ed or three in your mind so you have an interesting point to add.

Ask questions.
We can’t emphasize this one enough. Look, people want to feel heard. So, listen to them. We all intuitively sense the difference between someone genuinely listening to us and someone waiting for their next opportunity to speak. Be a listener, and even better, be someone who is curious about others and makes them feel heard by asking questions. Not cutesy, gimmicky questions, either. Think interesting industry news and questions about the other person’s projects, passions and work. People will love you for hearing them and wanting to know more about them.

Start with easy questions like, “How are you connected to this event?” or “Where are you from?” or “What brings you to this event?” Then shut your mouth and listen. Ironically, you’ll likely be remembered as interesting simply by drawing conversation out in others.

And remember, the goal of conversation is to advance it with each contribution. A great conversationalist not only advances conversation with ease and simplicity, but also is generous to the other person in terms of giving them places to go in the conversation. No matter how tempting it might be to describe a play-by-play scene breakdown of your amazing script, try to give more than take and form a connection. Think long haul, not one-shot.

Keep it positive.
Often, when we don’t know what to say, we resort to complaining. Nooooooo. Double no! Don’t do this. Keep it positive, or, at least, neutral and not negative. Remember: successful networking always builds forward, and never tears down.

Know when to exit.
We’ve all been there: stuck in a boring conversation, stuck with a person talking nonstop about themselves, or, as is most often the case, stranded in an awkward conversation that was perfectly fine but that has run its course. Easy: downshift with one small-talk sort of question or comment, then smile and politely excuse yourself with a simple, “Well, So-and-so, it was great chatting with you. I’m going to grab another drink/start to make my way out/thank the host/make sure to say hello to a couple of other folks here before I leave.” Then, shake hands and go. Easy, no drama.

For the love, please follow-up.
So often, people make contact at events, then never follow up. Here’s what’s needed: say hello, remind them where you met, and give them something. That’s all. For example: “Hi, So-and-so. Great to meet you at XYZ Festival the other night. Here’s the op-ed I mentioned about women in film. Have a great weekend. -Your Name.” Greeting, place reminder, and a gift. Boom.

If you want to also ask something of them, make sure the ask is very specific and connected to the conversation you had in person, that it’s very clear, that you’ve given a compelling reason for them to say yes, and that you’ve made it easy for them. For example: “Hi, So-and-so. Great to meet you at XYZ Festival the other night. Here’s the op-ed I mentioned about women in film. I would love to learn more about the board position you’re looking to fill and see if I would be a good fit for it. Here’s a link to my bio. How about we find a time in the next week to hop on the phone for 10 minutes and talk more about what the role requires and I can share my ideas about what I can bring to it? -Your Name.” Notice that the intent was clear, not some vague “let me know what you think,” the ask was low-stakes– a 10 minute phone call, not the dreaded “grab coffee” meeting (nobody has time for this), and not leaving it vaguely to the fates.

Amy Guth is founder/executive director of Strangewaze, a filmmaker, journalist and talk radio host in Chicago. Follow her on Twitter at @amyguth

Watch this right now: To Scale

F’reals. Stop everything and watch this gorgeous short film, “To Scale: The Solar System,” in which a duo of dudes create a to-scale replica of the solar system in a beautiful desert lakebed in Nevada. It’s gorgeous and dreamy and nerdy and everything we want it to be.

The thing about the sun at the five minute mark? Mind: blown. Science!

To Scale: The Solar System from Wylie Overstreet on Vimeo.

On a dry lakebed in Nevada, a group of friends build the first scale model of the solar system with complete planetary orbits: a true illustration of our place in the universe.

A film by Wylie Overstreet and Alex Gorosh

Copyright 2015