We recently connected with Jeanelle Warren and have shared our conversation below.
Jeanelle, thanks for taking the time to share your stories with us today We’d love to hear from you about what you think Corporate America gets wrong in your industry and why it matters.
In the captivating realm of filmmaking, I believe that Corporate America often falters by chaining their artistic endeavors to the fleeting desires and trends of the audience. While proven genres like crime procedurals and Hallmark movies have their place, I staunchly believe that filmmaking is not merely a reflection of society but a powerful force that can shape it. The corporate behemoths of the film industry seem to have grown complacent, content with feasting on the treasures they’ve amassed, resulting in an overreliance on remakes, redos, and reboots. It’s as if they’ve forgotten the thrill of venturing beyond their comfort zones, opting instead to resurrect a beaten-to-death horse rather than exploring the uncharted territories of creativity. The true essence of filmmaking lies in its ability to be a trailblazer, a provocateur, and a catalyst for change. Corporate America’s reluctance to embrace this essence may lead to short-term gains but risks stifling the very innovation that has historically defined the industry. It’s time to reignite the spirit of exploration, daring to create narratives that not only resonate but also redefine the cultural landscape. After all, isn’t the magic of filmmaking in its capacity to surprise, challenge, and leave an indelible mark on our collective consciousness?
One striking example that vividly underscores the significance of diverging from conventional industry norms is the remarkable impact seen through platforms like Tubi. Tubi’s commitment to showcasing a plethora of indie films, particularly from the black community, has ushered in a wave of opportunity and empowerment. While some may argue about the varying degrees of quality in these films, the true essence lies in the invaluable window of opportunity it provides for learning and growth among filmmakers who traditionally lacked avenues for showcasing their projects.
Consider this: emerging talents, who might have otherwise been relegated to the shadows due to limited access to mainstream platforms, now find their narratives on a screen. Despite potential imperfections in the finished products, this exposure becomes an invaluable mirror for these filmmakers, offering a chance for self-assessment and the refinement of their craft. It’s more than just a showcase; it’s a classroom where creators can evaluate their work, discern areas for improvement, and chart a course toward creating even more impactful stories.
Moreover, Tubi’s inclusive approach doesn’t just benefit filmmakers; it creates a genuine window of opportunity for audiences to discover hidden gems that may have otherwise gone unnoticed, pushing the audience into a space they may not have known they wanted to be in. This democratization of content not only amplifies underrepresented voices but also enriches the cinematic landscape by offering fresh perspectives and narratives.
The Tubi example starkly exposes a flaw in the corporate mechanisms of the film industry. While industry giants tend to gravitate toward safe bets and established genres, platforms like Tubi showcase the undeniable hunger for exposure to more. It also demonstrates that there’s untapped richness beyond the well-trodden paths, and embracing diversity not only benefits filmmakers but also invigorates an industry that should be at the vanguard of societal reflection and evolution, not just a mirror echoing past successes.
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?
My journey into the addicting world of filmmaking began over 25 years ago. Being the ‘black kid’ who defied stereotypes, I embraced varied interests from a young age—reading voraciously, dressing uniquely, watching anime, and listening to rock and EDM music. I’d like to say that I fell in love with writing from having so many stories in my head and wanting to tell them, but no. I was 6 years old, grounded, and bored. So I pulled out a notebook and a pencil and wrote a short story called, “The Adventures of Peter and Lucy,” where the two characters (named after my favorite Brady and Lucy Ricardo; from two favorite shows to watch growing up) did what I wanted to do that day. After being so quiet for so long, my mother came into my room to check on me and saw what I had done. She was encouraging and impressed. I didn’t know how to articulate it at that age, but as I grew up and transitioned into scriptwriting at 16, I came to realize what it was I discovered: the written word could change a person. It could change a person’s mood, a person’s perspective, a person’s thought process. To me, it was and is the most powerful weapon in the world, which scares people in power. If it wasn’t, Martin Luther King Jr., Bob Marley, John F. Kennedy, and John Lennon would still be here.
After, what I call, the golden age of black cinema in the 80s-90s, which I didn’t watch most of until the late decade of 2010 because of my age, I realized something about black cinema; it was watched mostly by black people. Not that there was anything wrong with that, but when constantly met with the excuse of “no one other than a black person can relate to a black lead”, it became a touchy subject for me. It took me back to my days as a child being called an “oreo”, a “white wannabe”, or “not like the others” because of how I chose to spend my time. Whether if the black people around me couldn’t relate to me or non-black people could, I was black regardless. That started to leak into my writing in ways I didn’t catch at first.
When I produced my first feature, a story about a black family, I witnessed its universal appeal. It became clear that stories, irrespective of the characters’ ethnic backgrounds, can be universally embraced. Hollywood’s misconception about the commercial value of POC stories stems from limiting narratives to cultural specificity. I, as a black creator, craft stories that transcend racial boundaries. My mission became to make black-created stories a household norm, breaking free from stereotypes. This approach not only opens doors for more black creators in the industry but also reshapes perceptions of who black people can be beyond stereotypes. There are more than enough people who make black trauma films or films that are intended to be directly relatable to a black audience. I just write stories. Not black stories. Not white stories. My stories; and they just happen to be relatable to more than those who look like me. That is important to me because by allowing non-black audiences to relate to our stories on a human level, we contribute to a more inclusive cinematic landscape that reflects the diversity of the world we live in.
How’d you build such a strong reputation within your market?
It’s interesting for me to even choose this question because I don’t even think I have much of a reputation in my market. However, with the people that I interact with, I’d like to think that my authenticity helped build up whatever reputation I do have. In a city where ‘playing the game’ is the norm, I’ve chosen to be authentic not just in storytelling but in being who I am as a person. The entertainment industry is rife with alternate intentions, fake humility, and fragile egos. Amidst this, I’ve found that my sincerity, transparency, and down-to-earth approach have been invaluable. I don’t just bring authenticity to my scripts; I bring it to every interaction and relationship. Building a reputation, for me, is not about conforming to market trends or industry expectations; it’s about staying true to my creative compass and my genuine self. The people I connect with recognize this commitment, and it forms the basis of the relationships and collaborations that define my professional journey.
Where do you think you get most of your clients from?
Navigating the dynamic landscape of client acquisition has been an adventure, to say the least. With the entertainment industry fresh off the double strike of the WGA and SAG-AFTRA, it was a struggle to gain clients in that kind of environment. But, even so, I’ve found success through a multifaceted approach. Social media has emerged as a powerful tool, not just for self-promotion but for fostering genuine connections. Platforms like Instagram, YouTube, and Twitter have allowed me to showcase my work, share my journey, and engage with a diverse audience.
Beyond social media, personal connections have proven invaluable. When friends and associates vouch for the quality of my work to their friends and associates, it creates a trust factor that is unparalleled. It’s heartening to know that those in my network believe in my capabilities and are confident in recommending my services to their circles.
Taking a more proactive stance, I also reach out directly to individuals. In an industry where time is of the essence, establishing trust swiftly is crucial. Whether through a compelling email, a brief call, or a virtual meeting, I strive to make an impression that lingers.
The best source of new clients, for me, is not a singular channel but a symphony of efforts. It’s about leveraging the digital landscape, nurturing personal connections, and being proactive in showcasing not just my skills but the trustworthiness that defines my professional ethos.
Contact Info:
- Website: https://www.jellowquakeproductions.com
- Instagram: https://www.instagram.com/jellythewriter
- Facebook: https://www.facebook,com/jellowquake
- Linkedin: https://www.linkedin.com/in/jeanelle-warren
- Twitter: https://www.twitter,com/jellowquake
- Youtube: https://www.youtube,com/jellowquake