Deep Dive with Andrew DeYoung

In 2014, a filmmaker named Andrew DeYoung came to our attention and quickly became one of our favorites. His film “Santa Monica,” starring Kate Berlant and John Early took home “Best Short Film” at our 2nd Annual Awards and remains an odd classic in the NoBudge annals. With other gems like “Ohio,” “Shopping,” and the Vimeo original series, “555,” he built up an impressive body of work, a distinctive mix of high and low concept comedies. In a just few years, he’s gone from making DIY videos to directing network TV shows. We asked him how we how he did it, and what’s it like to make a living as a TV director…

When did you start making films / videos? How did that look initially?

I started with music videos right out of college. I was extremely ambitious then. I rented some prosumer cameras and found a screamo band with some early buzz to make a free video with then with that I weaseled my way to a few low budget videos on a small label. I would produce, direct and edit all myself. It was hellish, but I learned everything here. If I booked a small video I would frantically reach out to other labels asking if they wanted to do a video for cheap cause I had a free day with a weekend rental. This allowed me to get relationships with labels quicker. I never got big big stuff, but after a few years I was pitching on decent size videos. I got a few things on MTV2 hahaha. But after a few years of feeling pretty dissatisfied I decided to quit, find a proper job, and devote myself to what I really wanted to do which was comedy.

What was your first film?

I started making my first videos with two friends of mine. We made a decent amount of sketch type videos. I think my first true short film was a thing I made with my parents called Mom Bought A Drum Set. I did everything on that shoot. I'm still so proud of it.

How did you find your early collaborators and crew?

One of my friends I made my very first comedy videos with introduced me to the improv scene which changed my life. I started taking classes and it introduced me to a community of wonderful, extremely funny people. Many of them I still work with today. Then I started to specifically reach out to people at other theaters that I was a fan of. I would try to work with collaborators who I loved and also open me up to a new audience. 

Kate Berlant and John Early in DeYoung’s 2014, short “Santa Monica”

What did you do with your early work, in terms of trying to get it seen?

I posted it online and crossed my fingers. I knew things would be seen within my comedy community, but told myself that if the work was good it would eventually find a wider audience. I tried fests too, but got nothing from them. A short of mine got a Vimeo Staff Pick which really introduced me to a larger audience. That was huge. Vimeo has been very important for me. I still believe good work finds an audience. All it takes is one person with some influence or power to respond positively to your work and lift you to the next level. I think in those early days I was trying to make stuff for that one theoretical person and less for mass views.

Do you remember any early signs that you were making your way into the industry in a bigger way?

Years and years ago I won a little video screening and the prize was to be on the front page of Funny or Die. An exec came across it and called me in for my first meeting ever. We eventually developed a show together and I found my manager through that. That process made me realize that even screenings/events/meetings that feel low stakes can have big impact down the line.

The kind folks at Jash asked me to direct a video for Key and Peele guest starring 2 Chainz. I did a few very low budget DIY videos for them that I guess they liked and asked me to do this. It was terrifying. Don't think I've ever been as nervous. It worked out ok, but I certainly was thrown into the deep end that day.

Did you submit to film festivals? Any success there?

I've never got into a festival I submitted to which is why I have such a negative attitude toward festivals. I see how they can be valuable in terms of community finding/building, but they have never helped my career. 

How were you making a living in those early days?

DeYoung on the set of A.P. Bio (2018)

I found a job editing for this awful TV company. I worked the night shift, midnight to 8am, slept a bit when I got home, then made stuff during the day and weekend. I did that for like 8 years until I was fired and did freelance editing for a few years until directing picked up. I learned to live cheaply. That was the key.

Are you a full-time director now? Can you make a living doing only work that you love? Or do you have a mindset where you do some things for the love, and other things for a paycheck?

Luckily, I have been directing TV full-time for the last three years. Episodic TV has been kind to me. I've been very fortunate to work on some good shows, but I rarely have a feeling of authorship over them. Some have been creatively fulfilling, most are fine, and a few have felt like punishment for an unknown crime. Every show makes me a better director, but often at the end of the day feel less like an artist and more like a technician. I am still trying to make things that I love during my free time. There will always be paycheck jobs. The goal is a healthy balance. My therapist introduced me to the idea of putting extra meaning on those jobs we do solely for money. Like, "yes, this job sucks the soul out of me, but the money I am making from it will give me a week of free time to work on my own projects." That reframing turns that shitty job into something more empowering. 

What are you working on now / near future?

Trying to write/direct my first feature. 

Any specific advice you would offer young filmmakers making their first work in terms of building a career?

Buy your own equipment. Learn self-reliance. Find good collaborators, actors especially, who are getting as much out of it as you. Put out only your favorite stuff. Try to make exactly what you want to make. Avoid trends. In those early days I would often watch sketches peers put out and make a conscious effort to do the opposite. I was following my gut, but I was also taking a step away from the crowd.