The Glow Up Year

How to Create a Reel-Worthy Short Film

• Megan Salisbury • Season 1 • Episode 12

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Feeling stuck waiting for your next acting opportunity?
Then this episode is for you. I’m walking you step-by-step through how producing your own short film can help you book more meaningful work and finally take control of your career path. We’ll talk about how to find a story that speaks to your strengths, build a small but mighty team, and film scenes that make your reel stand out.

I’ll also share what I learned while creating my first short, Ride the Wave—the messy, beautiful process of turning an idea into something real. From writing and pre-production to filming in the ocean (and trusting the process when things got wild), you’ll learn what it really takes to create momentum as an actor.

By the end, you’ll see how mindset, preparation, and community can transform your career—and why your next big booking might just start with your own script.


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2025 could be the year everything shifts for you—and I want to be right there with you on the journey.

Follow along for the real behind-the-scenes of acting, modeling, and mindset growth—you’ll see the wins, the lessons, and what it really takes to build a creative career.
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SPEAKER_02:

I wanted to put Darcy in this situation where she was like fighting for her life in the ocean. And I wanted to use this metaphor of the ocean being her grief, since we're talking literally about riding the wave, but metaphorically we were talking about riding the wave of grief as it comes and goes.

SPEAKER_01:

And that sounds awesome, but logistically it's a little bit hard.

SPEAKER_02:

This was honestly what I was most nervous about was like fake drowning. I was worried about it looking authentic and real, but also not dying, but acting like it's a good idea. I'm Meg, actress, model, and your behind the scenes bestie when it comes to chasing dreams and building something big. After years of navigating the ups, the downs, and the wild in-betweens of the entertainment world, I'm fully stepping into this next level chapter. And this podcast is your backstage pass to all the real stuff. Auditions, photo shoots, mindset shifts, script prepped, career curveballs, you name it, I'm sharing it all. The highs and the hard lessons in real time. If you're ready to go all in on your glow-up, take some brave steps and see what it really looks like to glow up in this industry. Grab your favorite drink, get cozy, and let's dive in together. Hello there, friend. Today is gonna be a really savvy episode for you. And that is because we are going to talk about creating your own short in order to help liven up your reel or add some more character to your reel. I know I've discussed before that we've been on here that we're starting pre-production on a short film. And at this point, we've gone through the entire process, and I just wanted to give you a quick little recap of all the important parts of this to complete. If you are on your own glow-up and you're wanting to create your own short film and you're wanting to build a team so that you can update your reel or just have some work out there to showcase who you are and what you do. This is gonna be a great episode for you because I'm gonna break down all the steps from starting to filming so that you have a clear idea of what needs to be accomplished and you can glow up in your own reel in your own scene. So let's just get right into it. I would say the first step here is to acquire or create your own script. And here are some of your options. You could hire a freelancer to write a script with a character in mind. Say you're missing a certain type of character in your reel, and you want to have a variety in your reel, you could hire a freelance writer to help you write your scene. You could write your own scene, you could hire a friend to do your scene, or you could I I don't like highly recommend this, but you could use AI or ChatGBT to write your scene. But typically, anytime I've had ChatGBT try to script things for me, it it's just a little funky and a little weird, but it is out there and you it is something that you can do and it's an option. So I wanted to present it. Once you've had your first draft of your script done, the short film that we just completed, there were five total drafts for me. And this is gonna range script to script, but I always like to start when I'm when I have a script, when I have a script idea, is to do my first draft and then I send it to four or five people that I really trust for their feedback, and I get feedback and I say, What's missing? Help me, what what do I need to change to make this work? Does this work? Is this clear? And somebody who's got an outside view can look at it and help me make sure that the ideas that I'm trying to get across are very clear and the character that I'm trying to get across is very clear. And so I said sent it out for my first round of feedback and got some great feedback back, which was awesome because I the things that I heard back from people were things that I already kind of in my mind was thinking maybe this doesn't work. So I got my first round of feedback, did a second draft, sent the second draft back out for feedback from the same people, got notes again, then we were at our third draft. And our third draft is what we started planning our shoot around because we knew that the script wasn't gonna shift and it wasn't gonna change too much from that third draft. And so the next thing we did was we had a production meeting where I got together with a couple of my friends who are also in the film industry. We talked about what we would need for a team, we talked about who was gonna take responsibility for what, we talked about where the money was gonna come from for the short, and then some of like the key important like location details. Did we have ideas? Were their places that we specifically had in mind for the shoot? And so we kind of started that early process of pre-production meetings. Then we, as we separated, I actually did my fourth and fifth drafts together. I guess I technically had six drafts of this, but I did four and five drafts. One we got rid of a key player, and the other I kept the key player, and I said, What do you like better? Because I felt like this key player was distracting from the story and not adding to the story. So we talked about what the options were. After discussing with everybody that ended up being part of their final team, or some of the key players of our final team, we took those two scripts and morphed them into one with our sixth draft and our locked shooting draft. And once you have a locked shooting draft, that means your script is not changing, nothing. It's gonna stay exactly the way it is, and we're gonna shoot it as it as it's stated in the script. That was kind of like the scripting, scripting and drafting process. Then we moved on to Tech Scout. And Tech Scout is when we go to all of our locations and we kind of talked through how we were gonna shoot it. We took production reference stills so that we kind of were prepared uh for what we were gonna shoot that day. So we talked about the shots, how we were gonna film them and execute them, and then took a reference still so that on the day we knew exactly what we were expecting to do, so that our schedule didn't get messed up on the day because we didn't have because we hadn't planned ahead of time. I hope that makes sense. That was kind of our Tech Scout day. From that Tech Scout day, we finalized the rest of our crew, finalized the small details and the schedule, when were we gonna have lunch, what was the correct order to shoot our scenes in to be the most efficient, and any other miscellaneous small things that we might have needed to rent or purchase to make the day complete. Because this was a five-page script and we shot it all in one day. So we wanted to make sure everything was set because there was no wiggle room for us not to achieve everything we needed to do in that one day. So once our text goes complete, we'd finalized our script, we were like officially in pre-pro, probably I would like to say a week. Uh I had about a week to do a really good like pre-production timeline. This whole process, in case you're wondering, took about a month from beginning to end, including drafting all of my script, which is really short, honestly, and I would have loved to have more time, but we had set a deadline and a target date, and so we just pushed to make sure that target date happened. If you were gonna do this yourself, I would say give yourself uh more than a month to complete all these processes, depending on your schedule. My schedule was a little monky and hard. So I was out of town for two of those weeks, and so it was really kind of hard to complete tasks, and maybe a month would have been enough if I wasn't out of town for two of the of the four weeks. So now we have finished our text cut, we're in pre-pro, our script is finalized. The next things that I did and we did as a team was we shopped for all the props, all the set dress, anything we needed to rent, all of those things got completed in that week. And then one of the locations we shot was my house. So I knew what kind of needed to happen in that week. So we moved furniture around to make it conducive to what we were planning on completing on our shoot day and what we had discussed in from our Tech Scout. We moved all the furniture around that needed to be moved and kind of like prepped the space and got rid of most of my personal things and stuff that didn't need to be cluttering up the space of the frame. From there, I think honestly finished doing all of the prep the night before, which felt so last minute to me and so kind of like scary. And I mean, we finalized our wardrobe literally like less than probably 12 hours before we were gonna start shooting. All of those last minute details kind of came together. And then on August 16th, I shot my first short film that I have written and starred in, which feels indescribable. I I shot the first thing that I wrote, something that was an idea in my head came to fruition in reality just a couple days ago, which is just mind-blowing. It kind of makes me want to do more and more and more of these. And we have a few ideas, we have a few ideas of some stuff that we're gonna shoot over the next couple months. That's kind of the process from beginning to end to shoot day, and I know you want the inside scoop on the script and you want to sneak peek. You want to hear about the film day and all of that process because you're here for it.

SPEAKER_00:

We just wrapped our short film Ride the Wave.

SPEAKER_02:

You heard it here. We finished filming Ride the Wave. I think I want to read you the script first. So I think this is how I want to do it. I think I want to read you my script first, and then we'll recap how the day went so that you can kind of reference how we shot the day out based on the script that you've already heard versus hearing my recap before you even know what's happening with the script. Let's start by reading the script. Ride the wave by Megan Salisbury. Scene one, exterior house establishing shot. It's a cool spring morning, but not a cloud in the sky. Scene two, the interior bedroom, late morning. The room is dim, but draped in early spring light. Unwashed mugs, grief books, and a dog-eared photo of Darcy and her mother clutter the nightstand. The room has been clearly lived in. Darcy, late twenties, lies curled up under a heavy comforter, staring at the photo of her mom. Her dog, DOG, rests at her feet. Darcy's voiceover. As a grief therapist, I've always been fascinated by how grief moves and waves. One minute you're okay, then suddenly it crashes over you. It pulls you under, it steals your breath, spits you back out gasping. If it doesn't swallow you whole first, it's unpredictable. Powerful nearly impossible to control. Darcy gently rubs her thumbs over the frayed spot on the comforter. Scene three. Darcy struggles in the deep ocean, fighting for air. Waves overpower her. She swims desperately, barely keeping her head above water. Darcy's voiceover. I advise my clients to breathe through it. Move with it. Ride the wave. Maybe I'm a hypocrite. Scene four. Interior bedroom, late morning. Darcy sits up slowly at the edge of her bed, her eyes glassy with tears that she refuses to shed. She decides instead to stuff it down. Lighting a roach from the night before, she takes a deep inhale, exhaling slowly as she collapses back onto the bed. Eyes fixed on the ceiling. DOG lets out a low, annoyed huff. Darcy glances back at him. Darcy to DOG. What would you tell me to do, huh? And don't say go for a walk. DOG's head perks up in excitement. Darcy to DOG. Okay, we'll go for a walk, but just to the mailbox and back. You got it, mister? DOG jumps off the bed and heads for the door faster than lightning. Darcy sighs softly. Gives a faint smile and follows him. Scene five Exterior Mailbox Minutes later. Darcy, but still in her pajamas and slippers, trudges down the driveway behind DOG. She looks exhausted, haunted. Her own words echo in her mind. Darcy, VO from a past session. It's normal to avoid grief entirely. We call them distraction behaviors. Uh watching TV, doom scrolling, drinking, drugs. But distractions only prolong the pain. They never get to the root of what's really keeping us stuck. She opens the mailbox out of habit, bills, the junk, then an unexpected envelope. It's old, yellowed, handwritten. She turns it over. Her name. Her mom's handwriting. Postmarked six months ago. Darcy's breath catches. She quickly stuffs the letter into her pocket, heart racing, and rushes back towards the house, DOG trotting alongside her. Scene six. Minutes later. Darcy sits at the table staring at the letter. She looks curious as if she's afraid to open it. Curiosity takes over and she unfolds the letter. The voiceover plays over her reading. Linda, Vio. My sweet girl. You looked so radiant on your wedding day. I couldn't stop staring at you. Wondering how I got so lucky to be your mom. Tears stream silently down Darcy's face. I hope you never doubt how proud I am of you. You're strong and kind and so full of light even when you forget it. Never stop being who you are. Scene seven Exterior Ocean Evening. A bird's eye view of rough ocean waters. Darcy is nowhere in sight. Waves churn violently. Linda voiceover continued. That's more than enough. And when life brings you its trials, just remember to ride the wave. Darcy breaks the surface, gasping, finally getting air, scanning the water. The waves will always bring you back to shore. Scene eight. Darcy is still reading. Linda, voiceover. I know you think it's cheesy when I say stuff like that. But I'm your mother, and if I don't say stuff like this, they'll revoke my mom license. Darcy laughs softly through her tears. I love you, darling. Mom. Darcy presses the letter to her heart. Darcy.

SPEAKER_01:

I'm trying, Mom. I swear I'm trying to ride the wave.

SPEAKER_02:

Scene 9. Exterior Beach. One week later. Darcy sits on the beach, gazing calmly out at the ocean. A peaceful smile forms on her lips. Darcy voiceover. Maybe the most important lesson that my mom ever taught me was that I don't have to fix everyone. Or even myself all the time. I used to think that I had to have all the answers to be strong enough for everyone else. But she showed me that real strength, real bravery is just being in the moment. Sitting with the pain and trusting it'll pass. Scene 10, Exterior Ocean, evening. Darcy floats serenely on her back, eyes closed, letting the ocean hold her. Perfectly at peace with the waves. Darcy voiceover. She called it riding the wave. Linda voiceover. The waves will always bring you back to shore. Fade out and cut to credits. Okay. That was my script, y'all. That was my script. I wrote that script. I wrote it. Okay, that was my script. That was it. There we go. Let's talk a little bit about the inspiration for this script too. Because this started with a script about a girl and her dog, and it was like a romantic comedy, and it was funny, and it was just supposed to be something short. It didn't have much of an arc. And it kind of transformed into this script that was a like a little deeper and about grief. And I wanted to use this metaphor of the ocean being her grief since we're talking literally about riding the wave, but metaphorically we were talking about riding the wave of grief as it comes and goes. I wanted to put Darcy in this situation where she was like fighting for her life in the ocean.

SPEAKER_01:

And that sounds awesome, but logistically is a little bit hard.

SPEAKER_02:

So that was kind of my inspiration, this metaphor of what she's going through emotionally, and then how she's kind of fighting the wave as she's avoiding the grief instead of riding the wave and kind of figuring out through the grief and sitting with her feelings and letting it hold her. And you know, I'm passionate about mental health, so I'm not surprised that this is something that came out of me and out of my psyche because I always love this idea of like working through our emotions and how does that feed our life. So that was a little bit of like my motivation behind the script. Now let's talk about the filming day and how we broke this down. As you know, we usually shoot films out of order, and that is due to a ton of different things. So we started our shoot outside and we knocked out all the exterior scenes, and we used our neighbor's house, one of my neighbor's houses is the exterior scene. So shout out, thank you so much, Jared, for letting us use your house. We shot our opening shot of our house, our exterior opening shot, and then we also shot Darcy going to the mailbox and opening it with the OG and finding the letter. That was our first shot of the day, and this is how we were doing after our first shot of the day. Enjoy these clips. Robbie, we just finished our first shot of the day. How do you feel?

SPEAKER_00:

Beautiful first shot. We're ready to go.

SPEAKER_02:

We just finished shooting scene one. How do you feel? Feel pretty good.

SPEAKER_01:

Light looks nice. Got a great crew working today, great talent.

SPEAKER_02:

And then once we had completed our outdoor scenes, we moved inside and we organized our day shooting from bottom of the house to top. So we shot our uh dining room scene where she's reading the letter first, and then later we moved upstairs to the bedroom where she's lying in the bed and kind of having these moments of avoiding the emotion. So we started downstairs, and downstairs was the big scene emotionally, because this is the scene where she's crying and she's getting she's reading the letter for the first time, and we had probably about five different shots, five different setups that we wanted to do. And so I'd spoke with my director, Robbie Moore, who was amazing, and he had kind of talked to me about how do you want me, how can I help you with this crying scene, and how can we support each other in these moments so that we can get the best performance, not only for your shoot, but so that we can have continue to have a great cultivate a great relationship. And Robbie, if you're listening, I'm just gonna say one word, and that one word is toaster. Bam. But we talked about what was the best way to support each other in that moment. For me, I like to I have a playlist for several different emotions, and I use this playlist both for modeling and for acting. But if I'm trying to like access a certain emotion, I have a playlist where I can pop in my earbuds. I found kind of like my one or two songs that really hit me. My playlist is longer than that, but there are a couple, couple songs that just really hit me for in terms of sadness. And so I listened to those songs, took a few minutes. I also really, really like to use a tear stick. And if you're an actor out there, you don't know what a tear stick is, it looks like a little tube of lipstick, but it essentially is an eye irritant and it makes your eyes like kind of well up with tears and helps bring the tears more naturally. So you're not sitting there like trying to like drudge up some terrible memory from the past in order to get some tears out. And all you do is you just like take a little little tiny bit of it and you rub it under your eye, and it has directions to tell you how close and or how far to put it away from your eye. You can kind of gauge how much you put on once you've used a couple times, how much to put on to get whatever effect you want. So if you want tons of tears streaming, you put on a little bit more. And if you want just like a well up in the eye, but you don't want any tears to fall, you might just put a tiny bit. It's such a useful tool so that you don't have to have any sort of like crazy mental health battle in your head, or you don't have to sit on shitty emotions in order to have a good performance. That's what I like to rely on, as well as, you know, I I do like to connect it to my life, have some memories that bring me to that place. But for this scene, my hair was down, and so I took advantage of having my AirPod in my ear with a song playing that I know emotes tears for me. I used my tear stick as my backup method so that I always know I don't have to sit there and be worried about if it's gonna happen or not. I know it's gonna happen. I just read this letter. I read it a couple times to get this like really great performance. And the awesome thing, too, about how we planned to shoot this scene was we shot everything that wasn't super emotional first and then shot the emotional stuff last so that I didn't have to keep dredging it up from five different angles and five different shots. So that's kind of how we worked through those moments. From there, we started setting up for our next scene upstairs in the bedroom, scrapped everything, and during that, my lovely, amazing, wonderful, awesome husband cooked us lunch, which was so great. Shout out to Nicholas. I appreciate you. You're the best partner in the world. Thank you so much for all your help. I know, I know it was hard. I appreciate it. So we went upstairs while he was cooking so that he could have kind of run of the space to do what he needed to. We actually were able to, we weren't planning on shooting anything until after lunch, but we were done setting up early. So we shot out a few scenes with the OG, my lovely, amazing, goofy puppy boy. I love this boy so much. He is so incredible. Kudos to myself that we did such a good job training him when he was a puppy that he could be a set dog if I was on set with him, like easily. And I kind of wrote this script to do what I knew he was capable of too. So I I didn't write anything in here that I thought he was incapable of completing as well. My lovely, wonderful puppy dog got his uh he got his key takes done while we were waiting for lunch to be complete. He did such a great job. Oh my god, I was so proud of him. He did such a great job. And he got a lot of treats for doing such a great job, but everybody was actually pretty impressed with how well he was on set and how great of a consistent behavior you could get him to do. He was he was very good. So I was very I was a proud dog mom. Such a proud dog mom of my puppy boy that day. So then we shot those bedroom scenes where she's kind of laying in the bed where she's lighting the roach and kind of having this moment of emotion and stuffing it back down. This room was starting to get very hot because it was a very hot summer day that we shot this. We worked as quickly and efficiently as we could in this room, and it's it was so great to have such a wonderful team to help facilitate the making of this. I you can never say enough about being surrounded by a wonderful team because this is really a team sport. I just am always so grateful for the wonderful people around me that helped make this film happen. And so we wrapped out upstairs, and then it was time to wrap up our loaf our from our first location, my home, and go to the beach. We this was honestly what I was most nervous about was like fake drowning. I was worried about it looking authentic and real, but also not dying. We went to the beach. Heads up if you are trying to make your own short film, you might need a permit. So always make sure you go through the correct forms to make sure you have a permit if you need a permit in a public place. But in this situation, we didn't need a permit, which was great. We showed up to the filming location and the last scene, which was a scene on the beach that we needed to shoot that ending scene where she's kind of sitting out and enjoying the waves and and kind of feeling at peace with herself and her mom. And we shot, you know, some uh other supplemental stuff, her walking on the beach and some like fun, cool. I did some running on the beach, which was fun and playing in the waves, and it really felt like a little kid again, which was really just fun and wonderful. And then we moved into the water. And let me tell you, it is hard to put on a wetsuit. How the fudge do people put on wetsuits? I'm serious. Oh my god, I've never put one on before, but I wanted a wetsuit because I've been in so many situations where I've been cold while I'm acting, and I just hate it because I feel like it distracts me from the work and the actual acting. And so I had rented wetsuits for myself, and honestly, anybody who um wanted or felt like they needed it, a couple other people opted into a wetsuit. I was so tired just putting it on. Like so tired. I this sounds so silly, but it was like you gotta keep pulling it up in different spots, and then it's like tight, which it should be, but yeah, it was so hard to get on. Oh my god. Okay, enough about wetsuits, Megan. Enough about wetsuits, but okay, one more thing about wetsuits. The water, you could not feel it at all. So I was impressed. I was impressed by the level of wetsuit amazingness, but also unimpressed by how hard it was to get on. We had the wetsuits on. And then because we were playing this metaphorical like world where she's in the water, where this is not actually real, she's not actually going out in the water. It's like a metaphor for how her emotions were. We dressed her in the same clothing that she was in for the bedroom scenes and for the scenes throughout the day. So she was like in pajamas and socks and like a cardigan. And so I had like a bathing suit, wetsuit, regular human clothes into the ocean. It was I was felt so heavy out there with like all these clothes on and wetsuits and just so bulky and crazy. And so we walked in to about probably uh chest height for water for camera purposes and for our purposes, and just kind of went with the hardest stuff first, which was like her actually looking like she's drowning, and then moved to what was easier, which was Darcy kind of like floating and and being able to ride the wave. It was hard, y'all. I'm not gonna lie. It was hard to to film because I couldn't really tell what I was doing. But that's when you rely on your amazing director to help you make sure you're doing the correct things and making sure you're getting across what your script says. I am so thankful for Robbie for helping me get that fear out within the script. And then I also want to say thank you so much to our amazing DP, Anthony Mantos, who figured out how to rig a camera for water and then honestly was just like a fish swimming around in the ocean with like a whole Holding a camera next to me and like literally fighting waves with me. Thank you so much for being such an incredible friend, but also such an incredible filmmaker to like want and take chances and want to like be in the thick of it and want to try something new and want to use new gear and want to be adventurous within your craft. Thank you so much for being such an amazing artist. It was so much fun hanging out with everybody in the water and almost dying, but not really, but acting like it. So we shot until we couldn't shoot anymore because they were closing the beach. When we got back to the parking lot carrying the most sandy wetsuits and the most sandy clothes with our very limited amount of towels, we got back to the parking lot and we recorded this.

SPEAKER_00:

We just wrapped our short film right away!

SPEAKER_02:

Once we had wrapped our short film, we had picture wrapped it. We went back to my house and we offloaded all the footage, completed like those last few final steps for the day. Planned for our next short film. Planned a date for it. So I can't tell you much. I'm not gonna tell you much yet because I'm still drafting, I'm still writing, but this script is gonna be a dark comedy, and I am here for it because I have no dark comedy in my in my wheelhouse, and I'm excited to have a new style of acting as well. That was Ride the Wave. It was such a cool experience. Uh I I'm kind of like hooked on it a little bit and just want to keep creating more and more and more. And not now, but I think in the future that we can expect a feature where we would crowdfund and create something full-length movie, which I'm very excited about. But I want to get a couple more shorts under my belt and start getting ideas for a feature. But I'm excited to say that that is definitely something that is in the back of my mind spinning for the future. You know, your girl's got so many things going on, so we're gonna make it happen, but it this might be a 20 end of 2026 project, I would think. But with all of that being said, the last thing that I have to say to you guys today is that my website, it's very close to being done. It's so close. I just had my brand workshop and oh my god, guys, the colors that she picked, the branding that she created for me, so beautiful, so gorgeous, so excited to showcase it. Of course, I think by my next episode it'll be up and running, so of course we will share it in the show notes below. But I hope you enjoyed hearing about this short film that we created. And I say we because it really takes a team. And before we go, I gotta give a shout out to all the amazing positions that we had, all this team that helped me create this short. And I want to give this shout-out so that you know how many people it took to make this thing a reality, and also because these are all people that you can network with to create your own project. And everybody was so amazing. Thank you to Jenny, who is going to do the VO for Linda, my mom. You're the best. We have yet to film our VO, but I know it's going to be amazing. Thank you so much. You're always my mom in short films. You're the best, Jenny. Thank you so much. Thank you to Haley Moore for producing this and for helping me get all of these things put together and for going above and beyond, not just producing, helping me set my wardrobe, helping me production design, helping me do all of those extra tasks that I needed assistance with because I couldn't do it on my own. And Haley also script supervised, which was a huge help. I love having a script supervisor. They really help make sure everything is clear to the editing team. Thank you for helping the editing team complete this. Thank you, thank you, thank you to Anthony Matos for just being you and for creating these beautiful cinematic shots and and just for being such a great teammate and for helping me create something beautiful and that really showcases the script that I wrote. Thank you, Jeshua, for being our AC, helping pull focus, making sure I'm sharp in the frame, and assisting with anything we needed camera. I appreciate your help so much. I hope you enjoyed your hamburger. Inside joke, sorry y'all. Thank you for helping make this project happen. Thank you to Danielle, who was our gaffer. Dude, you're the best. You're so awesome. Your attention to detail is amazing. It really, really helps when you have somebody who's passionate. Like I've said, every single person on this team was passionate. But Danielle, you just bring a little something a little extra, which is so special to me in my heart. Thank you so much, Danielle. Thank you to Louise, who was our swing and helping support our genie team and helping support Danielle. Thank you for setting up all those stands and putting them together and wrapping out and working hard. Thank you so much. I hope you enjoyed all of the Welches. Louise ate an entire box of Welches with No Shame. And next shoot, we will have two boxes of Welches for you, Louise, and just for you. Thank you to Griffin Cardale for recording sound for us for the day. You are an essential part of the team, and I appreciate you capturing all these tiny little moments to help make this project stand out. Thank you so much, Griffin. Thank you so much, Gabe Hurst, for doing our music. It's such an essential part to storytelling of a film. And also a big thank you to Gillian Backlund for being our PA for the day. Not only being our PA for the day, capturing amazing BTS, helping out whenever he could, capturing some social media, as well as he's doing the sound design for this. So it was so great to have you be here for the making of the film. Thank you so much. You are such an essential part of this team. And lastly, I've already mentioned it, but thank you to Robbie Moore for being not just a producer, but a director, and also for editing this project. I know it's going to be awesome. I love the vision you have. You are such a great director to work with because you give such good feedback and you really make an actor feel seen and heard as well as push them to be the best actor they possibly can be. Thank you so much for all your hard work on this. I can't wait to do another one together. Overall, the team really makes the project. We couldn't have made such a great product without all of these amazing crew members and all these amazing positions. So thank you so much for coming out here working hard for the day. I just I can't say thank you enough for helping bring one of my first short films to fruition. Thank you so much, everybody. And with that, I hoped hearing the process of this was helpful for you. If you need me to break it down any smaller, or you want any forms, or you want any of the pre-production style things in documents, I'm happy to share that with you. You just let me know down in the comments. Thank you so much for tuning in. I hope this helps you in your own glow up. Hope it gives you a good idea and shows you that it's doable to do something like this with a wonderful, awesome team of people that you've networked with. Everybody here, everybody on this crew, everybody on this amazing team's links will be in the show notes. So if you want to follow me, you want to check them out, you want to see what they're doing on the side, head over to the show notes so you can check them out on social media. And that's it for today's episode of the Glow Up Year. Thanks for hanging out with me. I'm seriously so excited to have you along for the ride. And we're only just getting started because the best is yet to come. If you felt fired up or inspired today, hit that subscribe button, leave a quick review, and pass this episode along to a fellow dreamer in your circle. You want more BTS or pep talks or updates? Come find me over on social at MegSalisburyOfficial. I'll be sharing more of my journey there. Links are in the show notes. And remember, your glow up is unfolding one bold move at a time. Keep showing up, keep dreaming bigger, and we'll catch you on the next one.

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Meg Salisbury

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