April 28, 2026 • 31 mins
For this episode of TBG U, council member Mikayla Weary, who’s been dreaming of a career in storytelling and documentary work connects with someone who’s already blazing that trail—filmmaker Taylor Hosking. In their conversation, Mikayla and Taylor explore what it really looks like to build a creative career from the ground up, how Taylor found her voice as a filmmaker, and the behind‑the‑scenes realities of working in documentary film. They also talk about navigating identity, community, and purpose while pursuing a path that isn’t always linear.
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Episode Transcript
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Speaker 1 (00:07):
Hey, y'all, thanks so much for joining me for this
episode of Therapy for Black Girls University. Today, I'm passing
the mic to TPGU council member Mikaela Weary, who's sitting
down with someone living her dream job. Documentary filmmaker will
jump right into the conversation afterword from our sponsors. For
(00:31):
this episode, I'm thrilled to introduce you to a conversation
led by councilmember Mikaela Weary who's been dreaming of a
career and storytelling and documentary work, so I felt only
right to connect her with someone who's already blazing that trail,
filmmaker Taylor Hosking. In their conversation, Mikayla and Taylor explore
what it really looks like to build a creative career
from the ground up, how Taylor found her voice as
(00:53):
the filmmaker, and the behind the scenes realities of working
in documentary film. They also talk about navigating identity, community,
and purpose while pursuing a path that isn't always linear.
Whether you're a student, a creative, or someone dreaming about
your next chapter, this episode offers inspiration, insight, and a
reminder that your passions are worth following. If something resonates
(01:15):
with you on enjoying the conversation, please share with us
on social media using the hashtag tvg in session or
join us over now Patreon. To talk more about the episode,
you can join us at community dot therapy from blackgirls
dot Com. Here's the conversation. So thank you for joining
me again today, Mikayla.
Speaker 2 (01:35):
Yes, thank you so much, and remind.
Speaker 1 (01:38):
Our audience who you are and where you went to school.
Speaker 2 (01:40):
So my name is with Kayla Wharry and I'm an
interdisciplinary artist, filmmaker and curator. And I went to the
illustrious Daily University and are recently graduated summer of TEENA
twenty five, so on living that post grad life.
Speaker 1 (01:54):
Indeed, indeed very excited to have you here with us,
being one of our Aaugirl TV gu ambassadors. So you
recently had the opportunity to interview Taylor Hasking as she
prepares for the debut of her documentary West Side Familia.
Before we get into the reflections around the piece, what
initially drew you to Taylor and her work?
Speaker 2 (02:14):
Oh, my goodness, Taylor's work is super inspiring and it's like, honestly,
really what I want to do with my career. A
lot of Taylor's work is very disciplinary, mostly working on documentaries,
which is my plight of fieldmaking that I want to
go down, and then also having a podcast and then
talking about black queer life is very inspirational to me.
(02:38):
It speaks directly to me, and I was just drawn
siting their work.
Speaker 1 (02:42):
Is there anything in particular that felt really inspiring or
like it felt very aligned with the path you're hoping
to walk.
Speaker 2 (02:49):
I think just doing all the dope like independent kind
of work, as well as doing like huge scale documentaries
like Taylor has the Park, and then all these super
cool journalism and just experience in every kind of realm
of creativity. I'm not the type of person to be
(03:09):
glued to one thing like I'm just going to be
a journalist or I'm just going to be a filmmaker.
Taylor does at all, and it's just super cool to
be able to interview somebody who has that type of
workflow and how can you even do that? Right? So
just learning how that is all balanced.
Speaker 1 (03:26):
As you prepare for your conversation with Taylor, what were
you hoping to learn about her creative process?
Speaker 2 (03:31):
Man, I was just hoping to learn how you balance
that much work and then just like yourself. And so
going into the conversation, I had a lot of questions
about just like work life balance with that kind of
creative workflow. I think that's really important. I think it's
not talked about a lot, just finding like time for
(03:54):
yourself when you have so many overlapping deadlines and people
to work with him stuff like that, So how do
you make that for yourself when it seems impossible in
those ways? And then also just like talking about the
black queer identity for me, when you're entering such an
industry like entertainment, those are two things that I think
(04:17):
you know make your social navigation a bit different than most.
And so just knowing like what that looks like for
Taylor and openly talking about life being a part of
that community is just something that I also really wanted
to learn about. Super disciplinating conversation.
Speaker 1 (04:34):
It sounds like you loved, feeling very inspired. Was there
anything in particular that she shared in terms of her background,
or her storytelling style or the content that made you
feel even more connected to her and her work.
Speaker 2 (04:48):
Yes. One of the moments I remember was asked her
specifically about what is it like being a journalist and
having a podcast openly talking about the black LG experience.
And she said something that stuck with me was that
she talks about it a lot, but then it's not
in the same way like confined to only talking about
those things and being still expansive in her creative practice
(05:11):
and in journalism and then still talking about the things
that happening or just resonate with our the black at
GBTQ community. And so I really appreciate that because I
want to be a storyteller in that way and tell
my ARCATAC story, but then also like you know, if
I want to do a dope documentary or like do
(05:32):
other projects that are kind of expansive. I think that
was super cool and a really fresh kind of perspective
to gain, especially as someone who is going into that field.
So I really appreciated that. And then also just like
I asked a lot about work self balance too, and
Taylor just shared a lot of tips and things that
she better just keep things afloat. So that was really inspirational.
Speaker 1 (05:56):
As you prepare for the next part of your educational career,
you're starting grad school soon, is there anything from your
conversation with Taylor that you feel like has shifted how
you're thinking about the beginning of your graduate program.
Speaker 2 (06:09):
My grad program is going to be more in archives,
and I want to still be a documentarian. I think
I got the film perspective and undergrad that was my
major ID dealer at university. And so I asked about
her process in making documentaries a little bit, and Taylor
really went into like the research and the organization and
(06:31):
all the things that it takes to do it. And
so I'm really considering that now in my grad program. Okay,
if I want to make a documentary, especially as a
pertainen to the history and communities of people, there's a
lot of extensive information that I need to know and
know how to deal with it, process it, organize it,
add in my own story to it, and then also
(06:53):
like listen to stories of other people and stuff like
that and consider it as a first hand experience or source.
Because that type of archival methodology is found in like
black and balking them beings, like you know, we take
what we hear and use it and validate it. But
that type of research practice is not known in academia
(07:15):
to be like the work runt. You've got to reference
a book or a piece of writing, but repreencing a
group of people that's a different type of thing, and
so taking that into like a traditional grad school program
and kind of using it to wave into my creative work.
I think it was super inspiring to hear and something
that will make my work unique and potent when I
(07:37):
talk about communities and history and those types of things.
Speaker 1 (07:41):
And what are you hoping that young black women will
take away from your conversation with Taylor?
Speaker 2 (07:45):
I hoping that what young black women take away from
this conversation is still just being every version of yourself
that you want to be and not being confined to
one thing when it comes to career or just when
it comes to your personal interests. Also, if you're expanding
and doing lots of things that once also finding time
(08:05):
to ground yourself. Still know when you've reached capacity communicate
it take breaks. But yeah, I think that sort of
meame Well.
Speaker 1 (08:15):
I'm really excited for people to hear the conversation, and
I'm glad that you got a chance to talk with Taylor.
Thank you so much, Mikayla.
Speaker 2 (08:21):
Speak to you.
Speaker 1 (08:22):
Thank you so much more from our conversation after the break.
Speaker 2 (08:33):
Hey, y'all, my name is Mikhayela Weary and I'm a
recent Dillard graduate filmmaker and I am so excited today
as a TABU Advisory Council member to interview a journalist
and filmmaker by the name of Taylor Hoskin, someone who's
doing super dope work. So I am super excited to
(08:57):
talk with you, Woul. Asking a few questions today. As
someone who is like black and part of the core
community like both, I understand that aggregating the industry and
both journalism and filmmaking is just difficult in their own rights,
And so what are some of the things that you
(09:17):
have done to navigate this space and then also just
works the advice for young filmwkers like me who aspire
to do this type of work that you're doing.
Speaker 3 (09:26):
It's funny how at some point in my career, well,
when I was first starting out as writing about identity
and writing about queerness and career, entertainment and culture was
what I was paid to do, which I'm sure my
family wouldn't have suspected when I was first coming out
and they were like, oh lord.
Speaker 2 (09:44):
Life's going to be hard.
Speaker 3 (09:46):
So I think that was a really exciting time back
in like twenty nineteen wild West pre pandemic days, where
there were a lot of journalists getting paid to just
write about their perspective on the world from their identity pov.
And then I feel like once twenty twenty came around,
of course a lot more people were getting their voices
(10:08):
out there. But then there was a pretty quick backlash
after that, around like twenty twenty two or so, where
suddenly a lot of the projects in Hollywood and elsewhere
that had gotten green lay off the energy of like
George Floyd Summer, were then getting canceled, and it was
really hard for people to get, especially filmed and TV
(10:31):
projects off the ground that were more like identity focused.
So I think I've definitely experienced like the booms and
busts of those times in the industry, and I think
right now we're still coming out of that. We're still
in that period where it's a lot harder to sell
a TV show or sell a film that is primarily
(10:54):
about identity politics in the thing as opposed to something
that happens to be a theme for a murder mystery
or some alien invasion thing. So I do think having
experience coming into the industry at a time where it
was really potent and powerful and possible to make a
(11:15):
name for yourself, like speaking directly to queer issues and
issues of like black identity and culture and entertainment showed
me that that could certainly happen again, and that there
is a particular moment that we're in right now that
might not always be the case. So I think I
feel pretty hopeful about it that even though some stories
(11:38):
are not necessarily the smartest things to be pitching to
a contact that you might not be able to get
meetings with all the time right now, that doesn't mean
that it wouldn't be a good idea to pitch that
to them, like a couple of years from now, and
that you could have other ideas that you're interested in
right now that are more like fitting for what the
(11:58):
industry wants. And that doesn't necessarily mean that it's abandoning
who you are, because we are more than our identities
as well. So I think right now is just kind
of a time where for myself, I'm asking myself what
kind of stories or what kind of topics am I
interested in outside of stories that are primarily about like
(12:20):
this character's identity navigating in this situation that's been an
interesting challenge. And I also think being in this period
has really elucidated the corners of the industry that are
still really supportive to like independent filmmakers. My film right now,
West Side Famelia, is a feature documentary about the Puerto
(12:43):
Rican and black community on the Upper West Side of Manhattan,
which is where my family has been from for generations.
And it's a neighborhood that is known to many as
a kind of like preppy white place. And then if
you know, you know that there's actually this line standing
like black and Puerto Rican community over here and dominic
we're heredo that has had a really big impact on
(13:08):
like music culture and popularizing break dancing and rumba and salsa,
and protests and housing rights in the city, and just
the melting pot up here and the cross racial solidarity
that was going on in the seventies and eighties, like
all the way up until things got pretty shaky during
(13:29):
the crack epidemic, was something that created so much like
political momentum and energy that the Cuban Liberation movement in
the Puerto Rican Liberation movement were a real conversation on
the national stage at that time, and not just like
an ancillary thing that people don't necessarily believe it's going
to happen in their lifetime. So that kind of story
(13:51):
is something that could only really happen in the public
media sphere, which is where it's happening right now, because
we were able to get some grants through PBS is
Latino Public Broadcasting for it, and Black Public Media helped
us out with a letter of rec for that, and
it was able to get us to the place where
we are now where we have an avenue for national
(14:14):
TV broadcasts, and so that's been really exciting, but it's
also been just very clarifying as to if you do
have a story that's more about your identity, there are
fewer options available as to how to get it done,
but it's at least very clarifying as to what those
places are.
Speaker 2 (14:33):
That makes me think about a lot of different themes.
For one, like just you said, like you're in a
place where you're kind of like considering the confines, you
know how speaking about your identity is something framed, but
also it had just confines that that could be the
only thing that the industry wants you to speak about
and expanding on that and doing like projects that kind
(14:56):
of reach more people. I think that's like super dope,
And especially with your documentary that you just made, like
that is super important work, especially now to know what
gentrification happening everywhere, especially New York. Just like having that
eye and having those stories being accessible to like for
(15:16):
future generations to see. I think that's really important work.
And I guess for a follow up, like what was
that process, like you knowing the story and then how
to tell it because we know, like, as we know
the documentary kind of field has been overrun while like
white guys who aren't educated, who don't really ethically tell
(15:37):
stories from people from people's perspectives, So, like, what was
your kind of process of like telling the story the
right way?
Speaker 3 (15:45):
Yeah, So back in the pandemic, when we were all
spending more time in our neighborhoods and having those more quiet,
observant moments of where you're really from and where you
live instead of just you know, life in the FASc lane,
hanging out on the balcony of my childhood apartment and
saw these elders from the neighborhood scaling this traffic light
(16:06):
poll and hanging this Puerto Rican flag and other people
were singing the like Puerto Rican flag song and the
same time, and this all just unfolded in this really
cinematic way, and this older guy was like standing on
top of the traffic light and the cars are going by, and.
Speaker 2 (16:25):
He's just dramatically looking out over the neighborhood.
Speaker 3 (16:28):
And that compelled me to definitely want to do a
story about them. But it took a couple of years
after that to really like figure out how that was
going to unfold. And it took like talking to one
of my friends who's a dp about the story that
I'm interested in, and then her just saying like, oh cool,
(16:49):
Like when are they doing it again, Let's just pull up,
let's start shooting. And so when we started shooting, we
didn't know like if it was going to be short,
if it was going to be a bigger project. But
in the first interview with the main character, the sky
Cheino Famelia, he just starts talking about how he was
in the Young Lords, he was in the Black Panther
as he was part of the Cuban Liberation Movement, the
(17:09):
Puerto Rican Liberation movement, who was at the statue of
liberty takeover, and it just started to become clear that
he has this almost like Forrest Gump like life story
of this like everyday man, every man who found himself
at these important moments in like neighborhood history and American
history just by being somebody who's so about the community,
(17:33):
about like hanging out outside and really about these movements.
Speaker 2 (17:38):
And so he's not somebody that is used.
Speaker 3 (17:40):
To being on camera. He's not very media trained, so
it took a lot of time shooting and hanging out
and listening to these guys to really hone in on
what is the most important like aspects to be the
kind of like tent poles of this story, and it
just snowballed into this bigger project. And then once we
(18:03):
got that grant from PBS, we were like, okay, cool,
we have like some financial foundation to actually pursue this thing,
even though in classic filmmaking fashion and there are still
more grants that we need to wrap things up.
Speaker 2 (18:18):
Yeah for sure, But yeah, I know, that's such a
beautiful story. I think, I don't know, just having it
all come together, just play out cinematically, writer friend of
me and then just come and to fruition like, I
think that is just like such a beautiful story as
to how to make a project. Usually like the answers
that are wanted these week years I made a pitch dick,
(18:41):
you know or something, but like just like having it
all come together, just like in real time, just something
like super inspiring.
Speaker 3 (18:48):
Yeah, when I saw them doing that, I was really
putting the pieces together in the moment that I had
seen this flag appear every summer around the time of
the Puerto Rican parade the neighborhood, and I'd always, like
my whole life had this fondness for it, even though
I never knew who puts it there, And so it
was this interesting thing where people have a presence in
(19:11):
your life before you even know them, and then discover
your purpose within one another's lives later.
Speaker 2 (19:17):
How do you balance care and then also doing this
type of work where it's very personal.
Speaker 3 (19:23):
I think this has definitely been the hardest project I've
ever worked on, and I am used to self editing
my articles the podcasts.
Speaker 2 (19:34):
That I produced. I've often been the.
Speaker 3 (19:37):
Editor of other people's work, but me being in it
and the narrator and having this tie to my family
history because my family is third generation in this neighborhood
and having lost my mom and these stories being a
big part of our relationship and connection to each other.
(19:58):
It was definitely a lot pretty emotional and tough to
even just in the edit phase get to a place
where you're able to say, Okay, pencils down, I think
we're gonna wrap this up, like it's something that I
think I could be editing forever, Like I could work
on this forever. There could always be more people to
(20:18):
interview in more ways, to like amplify with the heart
of the thing is. But I think, well, one, there's
an aspect of you only have but so much time
and money, and sometimes you let that dictate things where
you can to just get into that practical headspace. And
then the other thing is that I definitely am interested
(20:39):
in doing more film projects in general, but I've realized
that like I can only do one at a time,
where everything else I'm doing in my work life is
mostly podcast producing right now, and a lot of that
is like video talk show work and not so much
like documentary style audio either, even though I have done
(21:02):
that historically, because I just am like, let's use a
different part of the brain for the other parts of
the day and getting more into other ways of making
money too, you know, buying properties and things like that,
and like getting excited about other aspects of one's furthering
(21:24):
of your career and endeavors. To just make sure that
there's basically like a diversified streams of not just income,
but like meaning and excitement and enjoyment in your life,
because it also can be really taxing and just tough
when it's the kind of project where sometimes like you
might have a problem that can't be solved over night,
(21:47):
so you don't want that to get to you.
Speaker 2 (21:50):
Yeah, I know, that's so real. Like if you say
you for sharing everything and what it's like, what the
things that would go on, you know, during a production,
like life goes on during a production for sure. And
also just like what she said about investing in different
things at the same time, I think that's so important
(22:10):
as well, because you can become fixated on this one
thing something doesn't go well and just I don't know,
turn into something that was just a bit harmful. So
I also really think that's so cool that you're doing
other things while doing this thing just to keep a balance.
So that's super cool, Okay, I'm trying to think of
my very very last question, since a lot of young
(22:32):
people who are in collars out of colors maybe before
say they want to go into this space, what are
the things that they can do, like right now to
kind of ensure that they're equipped just not just like
skill wise, right just like emotionally creatively, just things that
(22:53):
they should bring into this space if they aspire to answer.
Speaker 3 (22:57):
Filmaking definitely requires a lot of calm, confidence, and a
lot of people skills to be able to get someone
to trust that even if you can't pay them right
right now, you definitely will pay them soon, and to
have the kind of like business management skills with yourself
that you're not going to bring someone on when you
(23:17):
don't really know where the money's going to be coming
from for them, and things like that. So definitely, if
they can already, let's say there is like a campus
newspaper that has a budget for events or productions, to
a certain degree, learning how to be the person who
manages money is definitely really important for this field, and
(23:42):
how to get people inspired by your work enough so
to want to You're not always going to be able
to pay top dollar when you're first out the gate,
And I think a lot of that has to do
with staying in community and building up your relationship, showing
up for other people, and making sure that you are
well aware of what the people who are closest to
(24:04):
you do, like what they're best at, because there are
plenty of times where people are still to this day,
even though my friend group has existed for like ten
years plus at this point from college and like the
college years in the twenties where people are still like
finding out what the other person does in their day
(24:25):
job or what the other person has done and is
capable of doing. I think paying close attention to the
interests and the skill sets of the people that you're
already closest to is really important. And then yeah, learning
how to be a good manager of like projects. But
I also think when it comes to idea pitching and
(24:47):
selling and story development, being patient, being willing to sit
with somebody for hours and figure out what draws you
to them, like have some sense of what already draws
you to them, and then dig into that further with them,
and being able to like follow your own curiosity and
also leave room for the person to surprise you and
(25:09):
take you into different directions can be like a really
fun part of the process. I think story development and
story producing is probably my favorite part. But I think
there are so many people that you have access to
when you're younger who have amazing stories, who might not
be very media trained or they're not very famous. So
you actually are kind of like front row to a
(25:31):
unique story that's never been told before. And it's just
kind of up to you to have the confidence to
believe that your intense intrigue and curiosity about something does
mean something, and that you can certainly follow that and
dig further into it to start to give it a shape,
and that writing articles and working on story structure those
(25:55):
smaller ways is certainly helpful for getting into it a
bigger way for sure.
Speaker 2 (26:01):
Yeah, thank you so much. That's very important because again,
like usually when this question is asked an answer, it's
like go on LinkedIn, make sure your resume is okay,
But like knowing the practical, like you gotta have confidence,
don't know how to talk to people. We got to
know like the people in their circle and what their
passions are like. That's definitely very practical, realistic, and super
(26:22):
applicable to now. I really appreciate you answering that question
just like a real life answer.
Speaker 3 (26:28):
Of course.
Speaker 2 (26:29):
I really appreciate you for taking the time at your
day to Jervis and leaving us with some advice and
telling us a little little bit about yourself. Thank you. Yeah.
Speaker 3 (26:38):
Glad to be able to contribute a bit to this
university you guys have going on over here.
Speaker 2 (26:43):
It's much needed for sure.
Speaker 1 (26:47):
More from our conversation after the break, one moment during
your interview with Taylor made you think, Wow, I could
really see myself doing something like this.
Speaker 2 (27:01):
I think the moments that made me think about that
is that Taylor is really connected to community. I think
across the creative practice that is where a lot of
the storytelling started. And for me, that is what drives
my creative practice and journalism and talking about my life
(27:24):
and just talking about my community is something that I
want to do forever. And I think it is so
amazing to see how just talking about your community being
and then know certain things and having certain conversations. Doing
that through a creative medium such as documentary work is
just super inspiring. So I can not really hope to
do and it just pactue.
Speaker 1 (27:47):
Something that I love. Asking after moments like this is
what do you want to take with you? So when
you think about Taylor's journey, her skills, and the impact
of her work, what are the specific things you hope
to incorporate into your own career.
Speaker 2 (27:58):
The things that I want to take with me in
my personal journey is just going for the ideas that
I have, in acting on them and treating them like
this is something that I should be doing. If it's
unheard of, if it's like I don't really know the
ropes quite well, not having that be something that holds
(28:20):
me back, but asking the questions and doing the things
that will get me there no matter what the unknown
may look like. I think just taking that chance in
the first place, whether it's making a documentary project or
talking about my identity in my community, I think nothing
should hold me back, even if I don't know, but
(28:41):
just starting and seeing how it rectifies into something beautiful
and amazing like Taylor's work, would just be something that
I want to take on myself to Minskia.
Speaker 1 (28:52):
So with one thing you're excited to apply or experiment
with in your own career after learning Taylor's approach.
Speaker 2 (28:57):
I think something that I would like to apply to
my work is just practice. I think hearing all the
snaps and the years and the process of making such
a project, I think just I can do this on
a scale that leads me to that path I had
to foe. I have social media, like there are lots
(29:20):
of people in my community or just nearby with stories.
I can really get innovative and take it step by
step and do the same kind of documentary work and
research and with the community where they are, but on
a scale where I can take a bite instead of
getting the whole plate, which is a documentary. So something
I want to do in my life, but I know
(29:40):
what it takes to get there now and I can
do that sort of thing.
Speaker 1 (29:44):
Yeah, it sounds like there's like a start with which
you have approach, right, Like you don't need a big
fancy camera and like to have a location and to
find us a subject, right Like you can start with
where you are, with the people you know, with the
equipment that you had first sure for sure?
Speaker 2 (29:59):
Yeah mm hmmmm hmmm.
Speaker 1 (30:02):
So if you had to name the biggest lesson that
you're carrying forward from this interview, what would it be.
Speaker 2 (30:06):
I think the lesson that I would take would just
be to go for it and then also have discipline
and then in the same breath as going forward and
having discipline, that takes a lot of energy, right, but
when I have a lot of that energy, just knowing
when to take breaks as well, because I know what
it takes to now do this type of scope of
(30:28):
creative work and film work, and I think staying on it,
just going to with the flow with certain things because
there's no clear path to making such a project, but
also just listening to myself and my body and knowing
when Okay, I've reached capacity, but I still have this
goal and knowing step by step along the way what
(30:49):
I can do to reach it in a way that
works press for me and my mental.
Speaker 1 (30:57):
I'm so happy Taylor was able to join us today's
episode and grateful to Mikaela for guiding such a thoughtful conversation.
To learn more about Taylor and her work, visit the
show notes at Therapy for Blackgirls dot com slash tvgu
If you're looking for a therapist in your area, visit
our therapist directory at Therapy for Blackgirls dot com slash directory.
Don't forget to follow us on Instagram at therapy for
(31:20):
Black Girls and join us over in our Patreon community
for exclusive updates, behind the scenes content, and much more.
You can join us at community dot therapy for blackgirls
dot com. This episode was produced by Alise Ellis, Indechubu
and Tyree Rush. Editing was done by Dennison Bradford. Thank
y'all so much for joining me for this episode. We
look forward to connecting with you again next month.
Speaker 2 (31:42):
Take it here
Hey, y'all, thanks so much for joining me for this
episode of Therapy for Black Girls University. Today, I'm passing
the mic to TPGU council member Mikaela Weary, who's sitting
down with someone living her dream job. Documentary filmmaker will
jump right into the conversation afterword from our sponsors. For
(00:31):
this episode, I'm thrilled to introduce you to a conversation
led by councilmember Mikaela Weary who's been dreaming of a
career and storytelling and documentary work, so I felt only
right to connect her with someone who's already blazing that trail,
filmmaker Taylor Hosking. In their conversation, Mikayla and Taylor explore
what it really looks like to build a creative career
from the ground up, how Taylor found her voice as
(00:53):
the filmmaker, and the behind the scenes realities of working
in documentary film. They also talk about navigating identity, community,
and purpose while pursuing a path that isn't always linear.
Whether you're a student, a creative, or someone dreaming about
your next chapter, this episode offers inspiration, insight, and a
reminder that your passions are worth following. If something resonates
(01:15):
with you on enjoying the conversation, please share with us
on social media using the hashtag tvg in session or
join us over now Patreon. To talk more about the episode,
you can join us at community dot therapy from blackgirls
dot Com. Here's the conversation. So thank you for joining
me again today, Mikayla.
Speaker 2 (01:35):
Yes, thank you so much, and remind.
Speaker 1 (01:38):
Our audience who you are and where you went to school.
Speaker 2 (01:40):
So my name is with Kayla Wharry and I'm an
interdisciplinary artist, filmmaker and curator. And I went to the
illustrious Daily University and are recently graduated summer of TEENA
twenty five, so on living that post grad life.
Speaker 1 (01:54):
Indeed, indeed very excited to have you here with us,
being one of our Aaugirl TV gu ambassadors. So you
recently had the opportunity to interview Taylor Hasking as she
prepares for the debut of her documentary West Side Familia.
Before we get into the reflections around the piece, what
initially drew you to Taylor and her work?
Speaker 2 (02:14):
Oh, my goodness, Taylor's work is super inspiring and it's like, honestly,
really what I want to do with my career. A
lot of Taylor's work is very disciplinary, mostly working on documentaries,
which is my plight of fieldmaking that I want to
go down, and then also having a podcast and then
talking about black queer life is very inspirational to me.
(02:38):
It speaks directly to me, and I was just drawn
siting their work.
Speaker 1 (02:42):
Is there anything in particular that felt really inspiring or
like it felt very aligned with the path you're hoping
to walk.
Speaker 2 (02:49):
I think just doing all the dope like independent kind
of work, as well as doing like huge scale documentaries
like Taylor has the Park, and then all these super
cool journalism and just experience in every kind of realm
of creativity. I'm not the type of person to be
(03:09):
glued to one thing like I'm just going to be
a journalist or I'm just going to be a filmmaker.
Taylor does at all, and it's just super cool to
be able to interview somebody who has that type of
workflow and how can you even do that? Right? So
just learning how that is all balanced.
Speaker 1 (03:26):
As you prepare for your conversation with Taylor, what were
you hoping to learn about her creative process?
Speaker 2 (03:31):
Man, I was just hoping to learn how you balance
that much work and then just like yourself. And so
going into the conversation, I had a lot of questions
about just like work life balance with that kind of
creative workflow. I think that's really important. I think it's
not talked about a lot, just finding like time for
(03:54):
yourself when you have so many overlapping deadlines and people
to work with him stuff like that, So how do
you make that for yourself when it seems impossible in
those ways? And then also just like talking about the
black queer identity for me, when you're entering such an
industry like entertainment, those are two things that I think
(04:17):
you know make your social navigation a bit different than most.
And so just knowing like what that looks like for
Taylor and openly talking about life being a part of
that community is just something that I also really wanted
to learn about. Super disciplinating conversation.
Speaker 1 (04:34):
It sounds like you loved, feeling very inspired. Was there
anything in particular that she shared in terms of her background,
or her storytelling style or the content that made you
feel even more connected to her and her work.
Speaker 2 (04:48):
Yes. One of the moments I remember was asked her
specifically about what is it like being a journalist and
having a podcast openly talking about the black LG experience.
And she said something that stuck with me was that
she talks about it a lot, but then it's not
in the same way like confined to only talking about
those things and being still expansive in her creative practice
(05:11):
and in journalism and then still talking about the things
that happening or just resonate with our the black at
GBTQ community. And so I really appreciate that because I
want to be a storyteller in that way and tell
my ARCATAC story, but then also like you know, if
I want to do a dope documentary or like do
(05:32):
other projects that are kind of expansive. I think that
was super cool and a really fresh kind of perspective
to gain, especially as someone who is going into that field.
So I really appreciated that. And then also just like
I asked a lot about work self balance too, and
Taylor just shared a lot of tips and things that
she better just keep things afloat. So that was really inspirational.
Speaker 1 (05:56):
As you prepare for the next part of your educational career,
you're starting grad school soon, is there anything from your
conversation with Taylor that you feel like has shifted how
you're thinking about the beginning of your graduate program.
Speaker 2 (06:09):
My grad program is going to be more in archives,
and I want to still be a documentarian. I think
I got the film perspective and undergrad that was my
major ID dealer at university. And so I asked about
her process in making documentaries a little bit, and Taylor
really went into like the research and the organization and
(06:31):
all the things that it takes to do it. And
so I'm really considering that now in my grad program. Okay,
if I want to make a documentary, especially as a
pertainen to the history and communities of people, there's a
lot of extensive information that I need to know and
know how to deal with it, process it, organize it,
add in my own story to it, and then also
(06:53):
like listen to stories of other people and stuff like
that and consider it as a first hand experience or source.
Because that type of archival methodology is found in like
black and balking them beings, like you know, we take
what we hear and use it and validate it. But
that type of research practice is not known in academia
(07:15):
to be like the work runt. You've got to reference
a book or a piece of writing, but repreencing a
group of people that's a different type of thing, and
so taking that into like a traditional grad school program
and kind of using it to wave into my creative work.
I think it was super inspiring to hear and something
that will make my work unique and potent when I
(07:37):
talk about communities and history and those types of things.
Speaker 1 (07:41):
And what are you hoping that young black women will
take away from your conversation with Taylor?
Speaker 2 (07:45):
I hoping that what young black women take away from
this conversation is still just being every version of yourself
that you want to be and not being confined to
one thing when it comes to career or just when
it comes to your personal interests. Also, if you're expanding
and doing lots of things that once also finding time
(08:05):
to ground yourself. Still know when you've reached capacity communicate
it take breaks. But yeah, I think that sort of
meame Well.
Speaker 1 (08:15):
I'm really excited for people to hear the conversation, and
I'm glad that you got a chance to talk with Taylor.
Thank you so much, Mikayla.
Speaker 2 (08:21):
Speak to you.
Speaker 1 (08:22):
Thank you so much more from our conversation after the break.
Speaker 2 (08:33):
Hey, y'all, my name is Mikhayela Weary and I'm a
recent Dillard graduate filmmaker and I am so excited today
as a TABU Advisory Council member to interview a journalist
and filmmaker by the name of Taylor Hoskin, someone who's
doing super dope work. So I am super excited to
(08:57):
talk with you, Woul. Asking a few questions today. As
someone who is like black and part of the core
community like both, I understand that aggregating the industry and
both journalism and filmmaking is just difficult in their own rights,
And so what are some of the things that you
(09:17):
have done to navigate this space and then also just
works the advice for young filmwkers like me who aspire
to do this type of work that you're doing.
Speaker 3 (09:26):
It's funny how at some point in my career, well,
when I was first starting out as writing about identity
and writing about queerness and career, entertainment and culture was
what I was paid to do, which I'm sure my
family wouldn't have suspected when I was first coming out
and they were like, oh lord.
Speaker 2 (09:44):
Life's going to be hard.
Speaker 3 (09:46):
So I think that was a really exciting time back
in like twenty nineteen wild West pre pandemic days, where
there were a lot of journalists getting paid to just
write about their perspective on the world from their identity pov.
And then I feel like once twenty twenty came around,
of course a lot more people were getting their voices
(10:08):
out there. But then there was a pretty quick backlash
after that, around like twenty twenty two or so, where
suddenly a lot of the projects in Hollywood and elsewhere
that had gotten green lay off the energy of like
George Floyd Summer, were then getting canceled, and it was
really hard for people to get, especially filmed and TV
(10:31):
projects off the ground that were more like identity focused.
So I think I've definitely experienced like the booms and
busts of those times in the industry, and I think
right now we're still coming out of that. We're still
in that period where it's a lot harder to sell
a TV show or sell a film that is primarily
(10:54):
about identity politics in the thing as opposed to something
that happens to be a theme for a murder mystery
or some alien invasion thing. So I do think having
experience coming into the industry at a time where it
was really potent and powerful and possible to make a
(11:15):
name for yourself, like speaking directly to queer issues and
issues of like black identity and culture and entertainment showed
me that that could certainly happen again, and that there
is a particular moment that we're in right now that
might not always be the case. So I think I
feel pretty hopeful about it that even though some stories
(11:38):
are not necessarily the smartest things to be pitching to
a contact that you might not be able to get
meetings with all the time right now, that doesn't mean
that it wouldn't be a good idea to pitch that
to them, like a couple of years from now, and
that you could have other ideas that you're interested in
right now that are more like fitting for what the
(11:58):
industry wants. And that doesn't necessarily mean that it's abandoning
who you are, because we are more than our identities
as well. So I think right now is just kind
of a time where for myself, I'm asking myself what
kind of stories or what kind of topics am I
interested in outside of stories that are primarily about like
(12:20):
this character's identity navigating in this situation that's been an
interesting challenge. And I also think being in this period
has really elucidated the corners of the industry that are
still really supportive to like independent filmmakers. My film right now,
West Side Famelia, is a feature documentary about the Puerto
(12:43):
Rican and black community on the Upper West Side of Manhattan,
which is where my family has been from for generations.
And it's a neighborhood that is known to many as
a kind of like preppy white place. And then if
you know, you know that there's actually this line standing
like black and Puerto Rican community over here and dominic
we're heredo that has had a really big impact on
(13:08):
like music culture and popularizing break dancing and rumba and salsa,
and protests and housing rights in the city, and just
the melting pot up here and the cross racial solidarity
that was going on in the seventies and eighties, like
all the way up until things got pretty shaky during
(13:29):
the crack epidemic, was something that created so much like
political momentum and energy that the Cuban Liberation movement in
the Puerto Rican Liberation movement were a real conversation on
the national stage at that time, and not just like
an ancillary thing that people don't necessarily believe it's going
to happen in their lifetime. So that kind of story
(13:51):
is something that could only really happen in the public
media sphere, which is where it's happening right now, because
we were able to get some grants through PBS is
Latino Public Broadcasting for it, and Black Public Media helped
us out with a letter of rec for that, and
it was able to get us to the place where
we are now where we have an avenue for national
(14:14):
TV broadcasts, and so that's been really exciting, but it's
also been just very clarifying as to if you do
have a story that's more about your identity, there are
fewer options available as to how to get it done,
but it's at least very clarifying as to what those
places are.
Speaker 2 (14:33):
That makes me think about a lot of different themes.
For one, like just you said, like you're in a
place where you're kind of like considering the confines, you
know how speaking about your identity is something framed, but
also it had just confines that that could be the
only thing that the industry wants you to speak about
and expanding on that and doing like projects that kind
(14:56):
of reach more people. I think that's like super dope,
And especially with your documentary that you just made, like
that is super important work, especially now to know what
gentrification happening everywhere, especially New York. Just like having that
eye and having those stories being accessible to like for
(15:16):
future generations to see. I think that's really important work.
And I guess for a follow up, like what was
that process, like you knowing the story and then how
to tell it because we know, like, as we know
the documentary kind of field has been overrun while like
white guys who aren't educated, who don't really ethically tell
(15:37):
stories from people from people's perspectives, So, like, what was
your kind of process of like telling the story the
right way?
Speaker 3 (15:45):
Yeah, So back in the pandemic, when we were all
spending more time in our neighborhoods and having those more quiet,
observant moments of where you're really from and where you
live instead of just you know, life in the FASc lane,
hanging out on the balcony of my childhood apartment and
saw these elders from the neighborhood scaling this traffic light
(16:06):
poll and hanging this Puerto Rican flag and other people
were singing the like Puerto Rican flag song and the
same time, and this all just unfolded in this really
cinematic way, and this older guy was like standing on
top of the traffic light and the cars are going by, and.
Speaker 2 (16:25):
He's just dramatically looking out over the neighborhood.
Speaker 3 (16:28):
And that compelled me to definitely want to do a
story about them. But it took a couple of years
after that to really like figure out how that was
going to unfold. And it took like talking to one
of my friends who's a dp about the story that
I'm interested in, and then her just saying like, oh cool,
(16:49):
Like when are they doing it again, Let's just pull up,
let's start shooting. And so when we started shooting, we
didn't know like if it was going to be short,
if it was going to be a bigger project. But
in the first interview with the main character, the sky
Cheino Famelia, he just starts talking about how he was
in the Young Lords, he was in the Black Panther
as he was part of the Cuban Liberation Movement, the
(17:09):
Puerto Rican Liberation movement, who was at the statue of
liberty takeover, and it just started to become clear that
he has this almost like Forrest Gump like life story
of this like everyday man, every man who found himself
at these important moments in like neighborhood history and American
history just by being somebody who's so about the community,
(17:33):
about like hanging out outside and really about these movements.
Speaker 2 (17:38):
And so he's not somebody that is used.
Speaker 3 (17:40):
To being on camera. He's not very media trained, so
it took a lot of time shooting and hanging out
and listening to these guys to really hone in on
what is the most important like aspects to be the
kind of like tent poles of this story, and it
just snowballed into this bigger project. And then once we
(18:03):
got that grant from PBS, we were like, okay, cool,
we have like some financial foundation to actually pursue this thing,
even though in classic filmmaking fashion and there are still
more grants that we need to wrap things up.
Speaker 2 (18:18):
Yeah for sure, But yeah, I know, that's such a
beautiful story. I think, I don't know, just having it
all come together, just play out cinematically, writer friend of
me and then just come and to fruition like, I
think that is just like such a beautiful story as
to how to make a project. Usually like the answers
that are wanted these week years I made a pitch dick,
(18:41):
you know or something, but like just like having it
all come together, just like in real time, just something
like super inspiring.
Speaker 3 (18:48):
Yeah, when I saw them doing that, I was really
putting the pieces together in the moment that I had
seen this flag appear every summer around the time of
the Puerto Rican parade the neighborhood, and I'd always, like
my whole life had this fondness for it, even though
I never knew who puts it there, And so it
was this interesting thing where people have a presence in
(19:11):
your life before you even know them, and then discover
your purpose within one another's lives later.
Speaker 2 (19:17):
How do you balance care and then also doing this
type of work where it's very personal.
Speaker 3 (19:23):
I think this has definitely been the hardest project I've
ever worked on, and I am used to self editing
my articles the podcasts.
Speaker 2 (19:34):
That I produced. I've often been the.
Speaker 3 (19:37):
Editor of other people's work, but me being in it
and the narrator and having this tie to my family
history because my family is third generation in this neighborhood
and having lost my mom and these stories being a
big part of our relationship and connection to each other.
(19:58):
It was definitely a lot pretty emotional and tough to
even just in the edit phase get to a place
where you're able to say, Okay, pencils down, I think
we're gonna wrap this up, like it's something that I
think I could be editing forever, Like I could work
on this forever. There could always be more people to
(20:18):
interview in more ways, to like amplify with the heart
of the thing is. But I think, well, one, there's
an aspect of you only have but so much time
and money, and sometimes you let that dictate things where
you can to just get into that practical headspace. And
then the other thing is that I definitely am interested
(20:39):
in doing more film projects in general, but I've realized
that like I can only do one at a time,
where everything else I'm doing in my work life is
mostly podcast producing right now, and a lot of that
is like video talk show work and not so much
like documentary style audio either, even though I have done
(21:02):
that historically, because I just am like, let's use a
different part of the brain for the other parts of
the day and getting more into other ways of making
money too, you know, buying properties and things like that,
and like getting excited about other aspects of one's furthering
(21:24):
of your career and endeavors. To just make sure that
there's basically like a diversified streams of not just income,
but like meaning and excitement and enjoyment in your life,
because it also can be really taxing and just tough
when it's the kind of project where sometimes like you
might have a problem that can't be solved over night,
(21:47):
so you don't want that to get to you.
Speaker 2 (21:50):
Yeah, I know, that's so real. Like if you say
you for sharing everything and what it's like, what the
things that would go on, you know, during a production,
like life goes on during a production for sure. And
also just like what she said about investing in different
things at the same time, I think that's so important
(22:10):
as well, because you can become fixated on this one
thing something doesn't go well and just I don't know,
turn into something that was just a bit harmful. So
I also really think that's so cool that you're doing
other things while doing this thing just to keep a balance.
So that's super cool, Okay, I'm trying to think of
my very very last question, since a lot of young
(22:32):
people who are in collars out of colors maybe before
say they want to go into this space, what are
the things that they can do, like right now to
kind of ensure that they're equipped just not just like
skill wise, right just like emotionally creatively, just things that
(22:53):
they should bring into this space if they aspire to answer.
Speaker 3 (22:57):
Filmaking definitely requires a lot of calm, confidence, and a
lot of people skills to be able to get someone
to trust that even if you can't pay them right
right now, you definitely will pay them soon, and to
have the kind of like business management skills with yourself
that you're not going to bring someone on when you
(23:17):
don't really know where the money's going to be coming
from for them, and things like that. So definitely, if
they can already, let's say there is like a campus
newspaper that has a budget for events or productions, to
a certain degree, learning how to be the person who
manages money is definitely really important for this field, and
(23:42):
how to get people inspired by your work enough so
to want to You're not always going to be able
to pay top dollar when you're first out the gate,
And I think a lot of that has to do
with staying in community and building up your relationship, showing
up for other people, and making sure that you are
well aware of what the people who are closest to
(24:04):
you do, like what they're best at, because there are
plenty of times where people are still to this day,
even though my friend group has existed for like ten
years plus at this point from college and like the
college years in the twenties where people are still like
finding out what the other person does in their day
(24:25):
job or what the other person has done and is
capable of doing. I think paying close attention to the
interests and the skill sets of the people that you're
already closest to is really important. And then yeah, learning
how to be a good manager of like projects. But
I also think when it comes to idea pitching and
(24:47):
selling and story development, being patient, being willing to sit
with somebody for hours and figure out what draws you
to them, like have some sense of what already draws
you to them, and then dig into that further with them,
and being able to like follow your own curiosity and
also leave room for the person to surprise you and
(25:09):
take you into different directions can be like a really
fun part of the process. I think story development and
story producing is probably my favorite part. But I think
there are so many people that you have access to
when you're younger who have amazing stories, who might not
be very media trained or they're not very famous. So
you actually are kind of like front row to a
(25:31):
unique story that's never been told before. And it's just
kind of up to you to have the confidence to
believe that your intense intrigue and curiosity about something does
mean something, and that you can certainly follow that and
dig further into it to start to give it a shape,
and that writing articles and working on story structure those
(25:55):
smaller ways is certainly helpful for getting into it a
bigger way for sure.
Speaker 2 (26:01):
Yeah, thank you so much. That's very important because again,
like usually when this question is asked an answer, it's
like go on LinkedIn, make sure your resume is okay,
But like knowing the practical, like you gotta have confidence,
don't know how to talk to people. We got to
know like the people in their circle and what their
passions are like. That's definitely very practical, realistic, and super
(26:22):
applicable to now. I really appreciate you answering that question
just like a real life answer.
Speaker 3 (26:28):
Of course.
Speaker 2 (26:29):
I really appreciate you for taking the time at your
day to Jervis and leaving us with some advice and
telling us a little little bit about yourself. Thank you. Yeah.
Speaker 3 (26:38):
Glad to be able to contribute a bit to this
university you guys have going on over here.
Speaker 2 (26:43):
It's much needed for sure.
Speaker 1 (26:47):
More from our conversation after the break, one moment during
your interview with Taylor made you think, Wow, I could
really see myself doing something like this.
Speaker 2 (27:01):
I think the moments that made me think about that
is that Taylor is really connected to community. I think
across the creative practice that is where a lot of
the storytelling started. And for me, that is what drives
my creative practice and journalism and talking about my life
(27:24):
and just talking about my community is something that I
want to do forever. And I think it is so
amazing to see how just talking about your community being
and then know certain things and having certain conversations. Doing
that through a creative medium such as documentary work is
just super inspiring. So I can not really hope to
do and it just pactue.
Speaker 1 (27:47):
Something that I love. Asking after moments like this is
what do you want to take with you? So when
you think about Taylor's journey, her skills, and the impact
of her work, what are the specific things you hope
to incorporate into your own career.
Speaker 2 (27:58):
The things that I want to take with me in
my personal journey is just going for the ideas that
I have, in acting on them and treating them like
this is something that I should be doing. If it's
unheard of, if it's like I don't really know the
ropes quite well, not having that be something that holds
(28:20):
me back, but asking the questions and doing the things
that will get me there no matter what the unknown
may look like. I think just taking that chance in
the first place, whether it's making a documentary project or
talking about my identity in my community, I think nothing
should hold me back, even if I don't know, but
(28:41):
just starting and seeing how it rectifies into something beautiful
and amazing like Taylor's work, would just be something that
I want to take on myself to Minskia.
Speaker 1 (28:52):
So with one thing you're excited to apply or experiment
with in your own career after learning Taylor's approach.
Speaker 2 (28:57):
I think something that I would like to apply to
my work is just practice. I think hearing all the
snaps and the years and the process of making such
a project, I think just I can do this on
a scale that leads me to that path I had
to foe. I have social media, like there are lots
(29:20):
of people in my community or just nearby with stories.
I can really get innovative and take it step by
step and do the same kind of documentary work and
research and with the community where they are, but on
a scale where I can take a bite instead of
getting the whole plate, which is a documentary. So something
I want to do in my life, but I know
(29:40):
what it takes to get there now and I can
do that sort of thing.
Speaker 1 (29:44):
Yeah, it sounds like there's like a start with which
you have approach, right, Like you don't need a big
fancy camera and like to have a location and to
find us a subject, right Like you can start with
where you are, with the people you know, with the
equipment that you had first sure for sure?
Speaker 2 (29:59):
Yeah mm hmmmm hmmm.
Speaker 1 (30:02):
So if you had to name the biggest lesson that
you're carrying forward from this interview, what would it be.
Speaker 2 (30:06):
I think the lesson that I would take would just
be to go for it and then also have discipline
and then in the same breath as going forward and
having discipline, that takes a lot of energy, right, but
when I have a lot of that energy, just knowing
when to take breaks as well, because I know what
it takes to now do this type of scope of
(30:28):
creative work and film work, and I think staying on it,
just going to with the flow with certain things because
there's no clear path to making such a project, but
also just listening to myself and my body and knowing
when Okay, I've reached capacity, but I still have this
goal and knowing step by step along the way what
(30:49):
I can do to reach it in a way that
works press for me and my mental.
Speaker 1 (30:57):
I'm so happy Taylor was able to join us today's
episode and grateful to Mikaela for guiding such a thoughtful conversation.
To learn more about Taylor and her work, visit the
show notes at Therapy for Blackgirls dot com slash tvgu
If you're looking for a therapist in your area, visit
our therapist directory at Therapy for Blackgirls dot com slash directory.
Don't forget to follow us on Instagram at therapy for
(31:20):
Black Girls and join us over in our Patreon community
for exclusive updates, behind the scenes content, and much more.
You can join us at community dot therapy for blackgirls
dot com. This episode was produced by Alise Ellis, Indechubu
and Tyree Rush. Editing was done by Dennison Bradford. Thank
y'all so much for joining me for this episode. We
look forward to connecting with you again next month.
Speaker 2 (31:42):
Take it here
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