We caught up with the brilliant and insightful Michael and Carshénah Siegenthaler a few weeks ago and have shared our conversation below.

Michael and Carshénah, looking forward to hearing all of your stories today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

Michael-

I learned to do what I do by reading books. No one taught me as a kid at the time until high school on how to do art. I was trying to read all the books I could to teach myself how to draw, but then I had a couple of good teachers in Jr. High and High School. There was no control in what was being taught at school, but I had teachers that were really good and steeped in tradition.

To speed up the process of learning, I could have spent less time on frivolous things as a kid. Choosing something and pursuing one key thing is something that could have been done because you have to put in the time.

The most essential skill for art is observation. Being able to observe life around you. Sitting and paying attention to really see things.

Distractions are always a big obstacle in learning more. Even everyday distractions. It can be t.v, video games, hanging with friends, but as a kid, that’s part of growing up. I’m glad I was able to be a kid, but at the same time, if you’re focused, distractions are a big waste of time needed to do art.

Carshénah-

I learned to do what I do by talking a lot. Always getting my hands into everything. All my talking helped me to not be afraid to approach anyone and talk to anyone. Who knew when someone told me that I talked too much, it would help me do exactly what I love to do.

I think I could have inquired more about how things worked behind the scenes in the theater or on film when I was younger in school to speed up the process. It wasn’t enough to just be in the school play. It wasn’t enough to just be the actor on the stage or experiment with a camera, I should have really asked the hard questions about what it takes in the industry.

Even though I should have asked in more detail, I think what was essential was that I never gave up to learn more about what I did wrong in an audition. After college was over and the real world kicked in, I started asking what I could do to improve at every chance. I asked casting directors, producers, I asked friends to read scripts with me, all while trying to figure out how to improve. This was the most essential part.

The number one obstacle that stood in my way was knowing who to ask and when. You have to discern when it is appropriate to ask. After an audition, you can’t just finish and go up to the casting director. You can’t wait for them outside of closing hours either. That looks weird and desperate. You can’t just call up their offices either, so you have to do it tactfully.

Sending a note, thanking them for seeing you in the audition room is a start. This leads to getting more attention for being a thoughtful actor which leads to you being asked to be seen again where you can ask what is needed for improvement. Even just that much teaches you how the business works. Small, but a door opener. Once you’re in the door, you can start to ask all of the questions you need to improve and then move forward with future castings. Finally landing the part.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers?

Michael-

Hello to those who may not have read about me before and welcome to my story. I’m a graphic designer who has worked in the arts and craft industry for well over 20+ years. I’ve designed some craft supplies and materials that you may have purchased at some of the major craft stores like Michaels, JoAnn Fabric, Hobby Lobby, etc.. I’ve also worked internationally to bring crafts around the world. Most recently, I created and illustrated a series of comic books called “SKITS,” about my lucid dreams I had after college while working at a t.v. station.

One of the things that set me apart from others in the industry is that I was taught the foundations of the craft. It’s hard to get other artists to talk about what they learned because they probably weren’t introduced to the classics. Foundations are key if you have good fundamentals. I bring these foundations in my art and you can see the difference when you look at my paintings or the colors I choose. It all had to do with the foundations learned as an illustrator and being self taught which is what disciplines an artist.

I’m an artist who gets excitement from the process of creating art. I’m not necessarily thrilled about the final product as I am the creative process. To me, the process is everything. If there is a good solid process to the art, then the final piece will be great. The joy of the creation is what sets me apart. It’s the high that I live for in my art.

I’m most proud of working on my dream projects like, “SKITS,” because I love doing it. A lot of people work on stuff because they have to, I work on it because I love it. This specific project has been in the works for over 20 years and I’m really excited to have it printed, sold and in the hands of the reader. My very own comic book. The excitement of creating hasn’t gone away. It’s as strong as ever. I want people to see the art more than anything.

Carshénah-

Hello to everyone and welcome to my story! I’m a working actress in the film industry who also has other titles under my belt. I produce films, I direct films and I’m an owner of a horror production company called Verse Films Productions that mainly gets movies in the horror genre off the ground and onto the screen whether it be in film festivals or a distributor’s hand. I’ve been acting for as long as I can remember. Starting of course at a very young age. Whenever there was a school play, I was front and center. Whenever there was an opportunity to mess around with a video camera, I was that person trying to look at every angle. Learning to film in good locations and being specific in my lighting choices. As a kid, my self-directed short films, which were all family and friends, was my jumping off point. I just tried a lot and Thank God I kept trying.

College was always the goal at the time and I’m so grateful that my mom sacrificed a lot to make sure I was front and center in getting a great college education. THANK YOU MOM! My undergraduate studies at Florida State University also took me internationally to Florence, Italy to further my degree. Upon my return, I graduated an entire year earlier than projected. I then moved on to the University of Florida where I received my MFA in acting. I wouldn’t have traded my creative studies for anything else.

My first real world acting job out of school brought me to New York as a model for Mattel, Inc. as a Barbie Doll. Her name was Simone and she was part of a refresh of the brand known as, “One Modern Circle.” It opened up a door into modeling which led me to a touring theater company where I landed my first acting job on my very first audition. This paid dividends to my career as it’s almost impossible to land a role in New York on your first try, but I did and I’m so grateful it happened that way to keep me pushing to do more.

Once I left New York, I made my way to Los Angeles where I’ve been acting in all gamuts of the industry from being in commercials, a background actor, to co-starring with Kiefer Sutherland in “24,” working in movies with Angela Bassett, KeKe Palmer, Laurence Fishburne, Joan Cusack, Bruce Willis, and most recently sharing some video time in the Beyoncé Lemonade music video. I also survived in a horror film called, “The Black String,” with Frankie Muniz from Malcolm in the Middle fame.

One of the prouder moments in my career is that I pushed myself to start up my horror production company and I’m still pushing with it. The main thing that people can get from being in a Verse Films Productions film is that I make sure a diverse crew is seen. From my cinematographer, down to my sound designer. I want people to feel welcomed when stepping on my set. I also want people to know that even with horror films, nothing can be more satisfying than knowing that what they created was something beautiful.

We are so much more than just horror films, we do video editing, in-house sound design and create some really beautiful videos for other creatives that want to put themselves on the map. We even do crowdfunding videos for projects on Kickstarter, Indiegogo and even videos for YouTube channels. I want people to create their passion. We produce stories that make a difference.

One of the recent projects I’m absolutely most proud of is a film I wrote and directed called, “The Dead of Night.” A resurrection film where love brings you back with a purpose. Our cinematographer, John Orphan, worked wonders to bring to life our story. He is well known in the industry and also a good friend to call when I need camera questions to be answered. The short film has been seen in film festivals and was screened in Hollywood as a red carpet event. Our sound designer, Anton Floriano worked with the music group Depeche Mode, which is known all over the world. I love their music and am a huge fan, so to get someone who’s worked with them to do my horror soundtrack was the cherry on top for me.

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

Michael-

Pay Artists. PAY THEM! That’s the number one thing anyone can do to support artists in any creative system. The biggest problem is that most people think, “Oh you just draw because you like to do it or you paint because you like to do it and I don’t have to pay you because you like to do it.” Well my answer is, “Oh well, I don’t have to pay you for working on my car, or I don’t have to pay you for fixing my teeth because you like to do it.”

We need to change how people look at art and the artists that create them. I don’t care what field it’s in. That’s why they call it dental arts. You would never not think of paying someone who went to school for that degree to be an artist for making you smile and keep you smiling so why is it any different from someone to put their craft on paper or in a gallery.

People just see it as something that doesn’t cost much to do. You spend your entire life learning how to do something and people don’t want to pay for it. But they love it, it’s around them everywhere they go. The way people view art today and it may have a lot to do with our society where you can put an antenna on a t.v and watch t.v for free or turn on the radio and music plays for free, well it ain’t free. You have commercials. People are paying to get those commercials in front of you.

When I was in college, a fellow artist friend of mine with whom I had a studio wanted to put on an art show where we would name each piece of art, the cost of living. Things that cost like, this piece would be rent, this piece would be a phone bill, this piece was your food bill, you know. How much does it cost as an artist? I wish we would have done that show because it would have been a good show on the cost of living as an artist.

Carshénah-

I agree wholeheartedly. PAY ARTISTS! PAY CREATORS! PAY THE PEOPLE BEHIND THE SCENES! Not in publicity, not in favors like share my Tweet and I’ll share yours. Not in write-offs for later. Marketing is a great tool and can be utilized to bring your project in front of people, but marketing fails when that’s all you get. Pay the people that will make you look good. If you know that the service they have for you is good, then pay them what they are worth. Simple.

I was blessed when I raised the funds to pay every single person on my movie set. From my actors, down to the on set photographer for publicity to everyone bringing their own equipment to make my little film feel like a Hollywood big deal. Now, what I did to make it more manageable for me was to make deals and negotiate rates. That’s Hollywood 101 in a nutshell. A check was cut the moment everyone left the set so there would be no if’s and’s or but’s about my crew wondering if this will be a “passion project,” or a paid gig. This showed everyone that I’m trustworthy enough for them to come back and film anything else I needed. In my book, that’s a powerful position to have.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

Michael-

When I found out that I was going to be able to go to college for art, I thought everything was solved, everything was finished. I thought I was going to be able to learn art and make money doing art and all those things. My experience with art school is that if you pay for it yourself, you find yourself in very bad financial debt. You don’t learn how to make money doing art depending on what you choose. Most of the art fields, you have to go out and hustle and figure it out for yourself. Schools aren’t going to teach you how to make money.

Today, you can learn more on YouTube than you can going to college about art. Don’t set yourself up for failure by putting yourself into hundreds of thousands of dollars in debt unless you can afford it. If there is a scholarship out there, get it. Use it. Apply for more scholarships, more than you think you will need. School will not teach you how to make money in art. You have to go out there and figure it out yourself. Maybe some things have changed. I graduated college over 20 years ago, but I doubt it. If teachers taught you how to make money, then they wouldn’t be teaching.

This is what I had to unlearn. Thinking that college would solve those problems for me.

Carshénah-

Although I agree to some extent that teachers and schools won’t teach you how to make money, especially in the film industry because it’s so specialized, school can still be a foundation to learn from those who had experience before you. What I had to unlearn is that I don’t have to make their experience my experience. All I needed to do was listen to what they went through to avoid it. It’s easier said than done as they say.

This applies to the film industry. I don’t have to know that auditions are hard when I can ask the hundreds of actors who go for the same role at the same time who look the same and dress the same and the casting director has to blindly just pick one of the many after an eight hour audition day. These are things that you have to unlearn from your time in school which taught you to look the same as everyone else and pray you did a good enough job to be called back. A smart actor would know that, unless the description calls for you to look that way, you can wear a different colored jacket to be noticed or stay away from a dark color so you don’t look harsh in the light on the audition tape. These are things that you have to pick up on in the real world. It may not always make you money, but your chances of making the call back round is higher than just showing up looking like everyone else.

Contact Info:

• Website: www.skitscomic.com

• Instagram: Michael Siegenthaler- @skitscomic
  Carshénah- @carshenah
  Verse Films Productions- @versefilmsproductions

• Facebook: Michael Siegenthaler- Skits Comic
  Carshénah- Carshenah Jefferson or Verse Films Productions

• Twitter: Michael Siegenthaler- @skitscomic
  Carshénah- @CarshenahJ and @Come_Get_Some_2
  Verse Films Productions- @Verse_Films

• Youtube: Youtube.com/Skitscomic and Verse Films Productions

• Other: Carshénah Jefferson on IMDB- https://imdb.me/carshenahjefferson

Image Credits
Verse Films Productions
Carshénah Jefferson Siegenthaler
Daniel Corey Photography