Atlas Falling wasn’t the first project I led — but it was the first time I couldn’t do it alone.
I was still the writer, producer, editor, DP, and even acted in it. Old habits die hard. But unlike my earlier work, I wasn’t the only one in the trenches. This time, I had people depending on me — and I had to depend on them too.
That was new.
I was used to control equaling safety. If I did everything, I couldn’t be disappointed. But Atlas Falling forced me to let go in small ways — trusting others to light a scene, run sound, organize a call sheet, or set a prop without me hovering.
And to be honest, it was uncomfortable. I struggled when something wasn’t done “my way.” I caught myself stepping in, fixing, and micromanaging. But every time I let someone own their job, the film got better — not worse.
That film became award-winning not because I did everything, but because I finally didn’t.
It taught me something I wish I had learned sooner — leadership in filmmaking isn't about doing every job. It's about creating a space where other people can do theirs.
Next week, we move into The Shape of Kindness, where I took the next step — handing off producing and directing entirely and stepping into a single role: DP.
Question for the lounge:
If you started out doing everything yourself, what was the first thing you learned to let go of?
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That's a great way to look at leadership in filmmaking, Lindsay Thompson! It's been so long I don't remember the first thing I learned to let go of, but I remember letting a co-producer take over some things when I was trying to make my first feature film.
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Great post Lindsay Thompson - my first experience in that was in producing a graphic novel. I really wanted to let the artist have the freedom and he did...to a certain extent. There was one scene that he suggested taking out but I insisted. In the end, he was right - it should not have been in there. It also violated a rule of having characters named after people you admire at the time. That's no longer the case so the character is not in the novelization of the graphic novel nor is he in the screenplay. I wish I had listened. It's such a juggling act.
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Thank you both for sharing these—seriously appreciated.
Maurice, I totally relate to that quiet shift of letting someone else take over certain pieces. It sounds small on paper, but in reality, it’s a big identity shift—especially when you’ve spent so much time being the one who keeps everything moving.
And Leonardo, your graphic novel story hit me hard. That tug-of-war between trusting your vision and trusting someone else’s instincts is exactly the tension this whole series is about. You’re right—it is a juggling act. And sometimes we don’t know which ball to drop until one hits the ground.
Your comments actually reminded me of something I read yesterday in Brian Kight’s Daily Discipline. He told a story about his 6-year-old daughter climbing on something, wanting to jump, but being terrified to do it. She wanted it—but she was scared of it. He taught her a simple response:
“What do we do when we’re afraid?”
“Be brave.”
That’s it. Not “be fearless,” not “wait until you’re sure,” just—be brave and jump anyway.
That’s what this transition feels like—handing off a scene. Trusting another artist’s instincts. Letting go of a shot you love, or stepping into a bigger role with more eyes on you than ever before. You want it—but it’s scary.
And the truth is—you can be afraid and still move forward. That’s called being brave.
So thank you both for reminding me—and everyone reading—that leadership in filmmaking isn’t about never hesitating. It’s about choosing to jump, even while your knees are shaking a bit.
Event + Response = Outcome.
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Lindsay Thompson - your comment hit me hard in return with respect to my current personal journey which in its entirety, feels like a transition. So thank YOU for sharing the Daily Discipline story. The message for today and the forseeable future is "Be Brave".
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You're welcome, Lindsay Thompson. And your post series could be the theme for a movie, show, etc.