When Things Don’t Go Your Way

I don’t even know where to begin with this one. Lol. Let me tell you a story that explains how I operate as a creative. And by creative, I really mean crazy person.

About 12 years ago, I rented a 7,000-square-foot studio in Hollywood. Why? Ego. I didn’t need a space that big, but I wanted actors to have the best studio possible, so I stupidly signed a ten-year lease. And honestly, it was amazing. But it also taught me what actually matters.

I didn’t even have the money to rent it. I borrowed money from a few producer friends, deposited it into my account in chunks over eight weeks to make it look like I had consistent pay so I could get approved, and then, when I finally got approved and moved in, I needed to figure out how to bring in an extra $12K a month, minimum, within two months. Before the studio, I only needed about $6K a month.

Crazy? Yes, but I did it. Big things happen when you take chances on yourself. That’s probably the one skill set every entrepreneur needs: guts and the willingness to invite constant failure into your life.

The studio was huge and in the heart of Hollywood. We had constant sound problems, though. Parking was a nightmare because—well, Los Angeles. Use your imagination. Over time, I realized buying a house for filming would have been easier, more practical, and probably better for the actors. And it would have been a much better move financially. I still don’t know why I didn’t buy a house instead of renting a studio. Oh yeah. My ego. When you make mistakes, you learn how to be better.

The giant studio and expensive gear weren’t what made the service valuable to my clients. The service was valuable because I always outperformed the value of the bill. I gave actors more than they paid for and made sure they felt accepted. I said yes when most said no. That brings me to this house. I bought this house specifically to film content for actors in San Antonio.

Because I own it, I can do whatever the project needs. I can paint, rebuild a room, knock down a wall, or create a completely different set. Within reason. I even have an RV for extra set space. The possibilities are endless.

Back in the day, an actress wanted to play a fortune teller and demanded a crystal ball. I looked everywhere for this thing. I found a bowling ball at a thrift store and painted it. She wasn’t impressed, so I eventually spent more than $100 on a real crystal ball from Amazon that we used once. I dropped it, and it cracked less than a year later.

My bowling ball looked better. 🤣

I probably could have explained what really mattered, but at the end of the day, it’s about making the creatives comfortable in their performances. And ya know what? She nailed it, and she had fun. For the record, my bowling ball looked great.

I literally almost signed a lease on a really cool studio near downtown San Antonio last month. Another thing about creatives: we’re impulsive. When I have an idea in my head, it’s there to stay. On the surface, it was so cool. The spot was close to 4,000 square feet, had exposed brick and decent parking, and was near Tobin Hill.

But instead of just signing the lease and telling myself I’d figure it out later, I took a day to really think about what mattered most. I didn’t wanna make that same mistake again. So then I made another impulsive move and bought a house. Lol.

Actors do not need to go into debt filming a demo reel scene. Most scenes in television and movies are simply people talking in a room. You need a camera, people, a space, and dialogue. The set should support the performance, not overpower it. And now here we are.

I have a baller camera, stunning lenses, clean sound, and the experience to make your content look incredible. I’ve been so fortunate since moving to Texas. I got to film a Netflix special, tour with a comedian as he navigated being one of the top comedians in the country, and work on a bunch of cool projects I booked through his team.

But I wasn’t happy. I like working with creatives who are on the same path—the ones who will stop at nothing for their big break. It’s 2026. All you need is an idea and people who believe in you.

I’m 48—not old—and creatively, I’m at the top of my game. I’m focused, determined, and ready to help actors showcase the very best they have to offer.

Thanks for reading. Check out what my service offers, and give me a call to get the ball rolling. I don’t care what time it is. Call. Production never sleeps.