5 Things I Wish I Learned Before Making a Short Film (That Was Never Released)

(Behind the scenes of Angotango Pictures’ unreleased “Take Your Child to Work Day”)

Early in my Colorado filmmaking days, I collaborated with Angotango Pictures — a Denver-based production company I worked with regularly. After our first short hit 150,000 views in a day, we had momentum, ideas, and ambition. So we made another one.

Sort of.

We shot it. We cast it. We spent a weekend on it. And then... it disappeared.The video was called “Take Your Child to Work Day” — a parody where a getaway driver (think Ryan Gosling in Drive) brings his kid along for a day of armed robbery. The only rule? No cussing around the child. We thought it was a hit.

It never came out.

Here’s what I wish I’d known going in:

Megan Elisabeth Kelly as a bank robber

1. Get Paid for Your Work

I worked early on in Colorado doing commercials, student short films, and independent projects with local companies — real LLCs, real work. I also took risks working with student filmmakers or early-stage creatives for a copy of the footage. If they had a good camera and a clean frame, I figured, Hey, I can use this for my reel.

Sometimes that worked. Other times, the filmmaker dropped out, lost the footage, or never finished the edit. I once spent a full Saturday working a 12- to 16-hour day, only to be told weeks later the footage was gone. I got nothing. No reel, no credit, no footage.

It was painful. My time was worth something, even back then. Now, my rule is: get paid. Even if it’s a small amount. Even if you’re just starting. Payment isn’t always about the money — it’s about a mutual commitment to see the project through.

Elias Holdman as another Bank Robber

Myself playing the dad and our wonderful actress

2. Your Reputation Is on the Line — Even If You’re Not the Director

On this one, I actually helped with casting. We were looking for child actors and I posted a casting call — my first time doing so. I was nervous. I got flooded with submissions from local parents, and I ended up working with an actress and her daughter in the final shoot.

I tried to email everyone back to let them know they didn’t get the part. I probably made some mistakes. I wasn’t using casting software, just the same local board other filmmakers used. But I did my best to handle it professionally.

Once we had our actors, it felt like a real set. These weren’t just friends helping out — they were professionals. And we had a responsibility to follow up on our last video with something great. I was asked recently about this project by the actress and painfully had to admit that I have no idea. That happens.

The Green screen set up

Looking through the driver's seat at the camera.

3. Keep It Simple — and Follow Through

We spent one full day shooting and came back the next day to get driving footage. We used my car as the getaway vehicle. I wrote the script and acted in it, and once I cast my role, I figured I was done on that end. But as the shoot expanded, so did the complications.

We ended up using a self-made green screen setup in my car. At the time, I didn’t realize how much that would complicate the shoot. I thought the idea was simple and straightforward. It was supposed to be a fun follow-up — not Avatar.

And here’s the thing: the shoot itself went well. It was a joy to make, at least from my perspective. We were laughing. The actors were great. The idea landed. And yet…

Derek on hand

Megan Elisabeth Kelly

Props

4. Green Screen Creates Problems

One thing I learned the hard way: cars and green screens don’t mix unless you know what you’re doing. Especially when it’s your actual, functioning car and you need it for work on Monday.

Typically, in studio shoots, the front and back windshields are removed when green screening a car interior. My car was intact — obviously — and we didn’t have the luxury of studio setups. We had light reflecting off the front windshield, and I was told later that it made the footage unusable.

I wish I’d known that ahead of time. I would’ve pushed to shoot practically or just simplified the setup altogether.Props for the film

Serious actors

5. Problems Happen — Figure It Out

The big issue, I was told, was that you could see a light post reflected in the front windshield. When I watched the footage, I honestly didn’t see it at first — I was focused on the acting and the comedy. It looked funny. The timing was there. The idea landed. That’s what I saw.

But filmmakers and DPs view things differently. They’re focused on technical flaws — and in their eyes, the reflection ruined the shot.

I asked if we could work around it. Cut differently. Use what we had.But the project stalled out.And the film… never came out.

I never heard anything about it again.And I’ve spent so many days in my career wondering if the thing I just shot will ever be finished or released. That’s part of this process. That’s the reality — even on bigger sets, even with professionals, even with the best intentions.

When you work and the film doesn't get released

What I’ve learned since then — and what I try to hold myself to now — is this:If I’m asking people to donate their time, talent, or equipment, I owe it to them to get the thing made.

Put it out there. Good, bad, or ugly. Finish it. Release it. Let it live.You don’t get better by waiting for perfect. You get better by doing it again.

Here's a completed work: