Alright – so today we’ve got the honor of introducing you to Aris Federman. We think you’ll enjoy our conversation, we’ve shared it below.

Hi Aris, thanks for joining us today. What’s the kindest thing anyone has ever done for you?

This is a difficult question because it’s challenging to identify a single ‘kindest’ act- especially on the road to filmmaking. Every storyteller, artist, filmmaker, actor, and beyond can tell you that it takes persistence and grit, but it also takes an immense amount of generosity from others.

I don’t think I buy the notion of being entirely ‘self made’ because, while people have to constantly work with an industriousness and an intensity, more often than not, someone at some point extended them a kindness. I think the ‘self made’ moniker does a disservice to the people who supported you along the way. I have many instances of kindness and support that come to mind in my own journey.

My mom encouraged me to audition at the local community theatre as a child, and even though I didn’t get cast on my first go, she prodded me to keep trying. My dad, when I expressed interest in becoming an artist, told me to be ‘a good one’ and let me know I had his support the entire way.

I think about a few professors of mine, who have kept in touch with me long after having graduated. They’re a text away, and are incredibly generous with their time and guidance.

I think about my high-school lacrosse coach, a filmmaker himself, who altered our schedules so that I could also do the school play.

I think about my friends who were crazy enough to rally behind a short film in the middle of a global pandemic.

It’s very difficult to name a single kindness, but I have an endless bank that I can draw upon. Without those kindnesses, I don’t know where I would be. So I reserve a great deal of gratitude for my friends, family, business partners, and mentors for helping shape me, my interests, and my path.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

When I was in elementary school, I ‘produced’ my first film. My parents held the camcorder as I coaxed my Star Wars action figures into battle with one another. Some people might call that a home movie. I think it was an early exploration in storytelling.

It has been quite the journey since those initial explorations. It started with auditions at my local community theatre, and then a collegiate decision. I graduated from Pace University with a BFA in Acting. It was during the pandemic that I really discovered filmmaking. During the pandemic’s first year, theatres had closed- leaving me desperate to scratch the storytelling itch. That’s when I wrote my first script, gathered a few (covid safe) friends, and filmed a three minute short. One of those friends would go onto co-found our production company, Blue Oak, with myself and our other co-founder- although we wouldn’t toy with the idea of starting a company for another few years.

Most of the films I had made in college were explorations, determined by one major factor: ‘What can we make without any money?’ In a way, this was the best ‘film school’ I could have ever enrolled in. It forces you to learn the tools, get creative, and think in non-traditional ways. Each project was an incredible learning experience, the concepts growing in complexity with every attempt. I was in a state of fearlessness because, well, you don’t know what you don’t know. I wasn’t aware of the great capacity for failure or the ‘proper’ way to do things. I was just making a movie. I’m a firm believer in the idea that the best way to develop a skillset is to actively engage in it, without fear. Those explorative, first films screened a few film festivals and I started to dive deeper into this medium of storytelling. Film festivals are fantastic, not only for sharing your work, but for experiencing the work of others.

There is something incredibly universal about stories in general. We tell them around campfires, in grand opera houses, and on screens- but regardless of the venue, people gather to hear them. I think, especially these days, it’s imperative to be contributing to something that brings a sense of commonality to us all. It’s a beautiful phenomenon.

Our company, Blue Oak Productions, was founded on that idea. It’s a new company, and we want to see how far we can go in regards to indie storytelling. We love telling stories that tap into that childlike, universal part of us all. Many of the projects that we currently have in development center around the indomitable human spirit, incredible persistence in the face of adversity, and the questions that most people are forced to grapple with every day.

We live in a time when stories, and their telling, are more accessible than ever. The tools, resources, and information are out there, which is incredible. This company started as an experiment, seeing what we could build with those tools. We’ve fallen down quite the rabbit hole, and don’t plan on ever coming out. A constant question we ask ourselves, when deciding what stories to create or how to tell them, is this: ‘How can we connect with people in an authentic way, that doesn’t conform to formulas, stereotypes, or gimmicks.’ That question is the guiding principle behind the work we are doing.

Have you ever had to pivot?

Pivoting, I quickly learned, is a substantial part of the job itself. On the microscopic level, indie filmmaking is heavily centered around split-second problem solving. Film production, despite copious amounts of preparation, rarely goes according to plan. That’s why it’s essential to be working with a group you share a rapport and commitment to the story with. In those moments, trust in the artists around you is paramount. The best piece of advice I ever received on the topic was this: ‘Things will go awry. But if you’re committed to building something, surround yourself with people who know more than you do. Then trust them.’ I try to exercise that everyday.

In the macro- the filmmaking/storytelling industry is seeing an unprecedented amount of industry disruption. Things like AI & streaming are both revolutionizing and rocking the industry. There are plenty of potential dangers, which is why the WGA and SAG-AFTRA strikes occurred- to protect the artists who help create the entertainment we enjoy on a daily basis. It’s not all negative, though. Many of these tools can also enable more creators to tell larger stories, which is a beautiful thing. Diversity of content and perspectives is important, so I am excited about the potential upsides.

Blue Oak Productions has experienced some interesting pivots as well, since our recent founding. In addition to our narrative work, we’ve begun exploring commercials/corporate content as well. Commercial work is also a form of storytelling, far more than people recognize it to be. A company’s brand is their story and good commercial content has to also serve as an entertaining, relatable piece of that brand- especially in a world so saturated in digital content.

Are there any books, videos or other content that you feel have meaningfully impacted your thinking?

Plenty. The first thing that comes to mind is Mark Duplass’s keynote at SXSW. For creatives who haven’t seen it, drop what you’re doing and give it a watch. Mark is an actor, director, and producer with films that have walked the halls from Sundance to Netflix. His speech revolves around the idea that ‘the calvary ISN’T coming’. He talks about his journey as a creative and his constant waiting for ‘the calvary’ to arrive- be that job offers, agent offers, etc. Through the progression of his keynote, he stresses the importance of not banking on someone to swoop in, recognize your talent, and provide you with an opportunity. Instead, find like-minded creatives, break rules, and do the job yourself. You BECOME the calvary. It’s empowering, but more importantly, it’s true. This is a business where you have to be both entrepreneurial and industrious.

The second resource that comes to mind has very little to do with art altogether. ‘How To Be a Stoic’ is a fantastic, entry level introduction to stoicism. Many of the stoic ideas, I’ve found, can be freeing when pursuing something as abstract as storytelling. One allegory from my read still sticks with me: the stoic archer. The stoic archer is a story meant to illustrate the importance of consolidating our focus on what is directly within our control. In the allegory, an archer takes aim at a target, and lets his arrow loose. What is that archer’s goal? Instinctually, we might conclude that his goal is to hit the target, at least I did. But in actuality, ‘hitting the target’ is a very poor criteria for success. Despite the archer’s best efforts, once he lets the arrow loose, he has no control over the outcome. The target could move. The wind might change directions. Something could move in front of the target. If the archer uses ‘hitting the target’ as his metric for success and happiness, he will always be at the mercy of fate.

Instead, the archer should shift his criteria for success toward what he can control: how hard he draws the bow, where he aims, his technique. In this way, his goal is simply to ‘aim well’. Hitting the target is a potential byproduct of that. With art, a pursuit that is rather abstract and without clear metrics, this idea is powerful.

The last is straightforward but under appreciated. Going to the movies. If you want to do something, if you love it and are deeply engaged with it, you’ll want to consume it as well as make it. Every trip to the theater is a chance to research. What worked about that? How did they do it? Why didn’t this resonate with me? I’d like to weave that into my process as well (or the opposite). Immerse yourself in the world you want to occupy.

Contact Info:

• Website: https://www.blueoakproductions.com
• Instagram: https://www.instagram.com/blueoakproductions/
• Linkedin: https://www.linkedin.com/company/blue-oak-productions/

Image Credits
Jacob Wilkinson