Twenty years in. Major labels. Global shoots. Arena screens. Rock Davis didn't stumble into a directing career — he constructed one, city by city, credit by credit, from the basement studios of Newark to stages in South Africa, Dubai, Bangkok, and London. Newark filmmakers rarely get the full credit their careers deserve. This one is different.
He sat down with Steven Strickland on On The Set Podcast and said everything the industry is too polished to admit. The work is hard. The Instagram era is lying to people. And the photo op was never the craft.
The Director Is the Nucleus — Not the Star of the Set
Walk onto a set expecting one person to be louder than everyone else, and you've already misread the room.
Davis doesn't describe directing that way. In his view, the director is the nucleus — not the loudest voice, but the one everything connects to. Set design wants input. The DP is asking about coverage. Actors need direction on motivation and blocking. Producers have locked the schedule. And the director has to hold all of it together while the day moves forward with or without them.
The real job is less glamorous than the credit makes it sound. You're putting out fires. You're keeping people calm enough to do good work under pressure. You're reading a plan that looked clean on paper and adjusting it in real time because weather, budget, energy, and human emotion all showed up uninvited.
Davis grew up on chess and video games — and both mindsets live on his sets. Chess taught him the value of every piece around the king. The queen moves everywhere, handles everything, makes the game possible. Video games taught him that sometimes you only get one shot at the level in front of you. The director's job is to earn that shot and not waste it.
Control matters. But the director who can't bend misses the best ideas in the room.
"A director does not spend the day bossing people around while everyone else follows orders. Good directing asks for compromise — and the judgment to know when someone else's idea makes the work better."
Instagram Sold People a Photo Op. Davis Is Selling Something Else.
He didn't soften this one.
"Instagram era has made it all about a photo op opposed to doing the work."
A camera. A light. A clapboard. A few behind-the-scenes shots. From the outside, it reads like a production. Behind that image, the work may be nowhere close to what it looks like. Davis has watched the gap widen for years and he's not interested in pretending it isn't there.
The hard part lives before the polished post. Pre-production is where the stress lives. Production is where the blood, sweat, and long nights show up. Editing takes longer than any highlight reel suggests. And finishing something is not the same as doing it well.
"Just because you did it don't mean it's good."
Blunt. Accurate. And exactly the kind of thing a director with 20-plus years of credits can afford to say out loud — because the work stands behind it.
Davis is fine with promotion. What he won't do is let promotion masquerade as craft. In a business where cameras are more accessible than ever and titles are easier to claim than they've ever been, respect still has to be earned through skill, consistency, and results. That hasn't changed. The filter just makes it harder to see.
Newark Built the Foundation. The World Became the Set.
Davis was born Rockman Ali Davis — a name from Muslim tradition meaning "the beneficent, the merciful." His older brother Ramses, younger brother Raheem, parents Robert and Rosetta. The neighborhood called them the Rad family. Identity was never an afterthought in that house.
His first contact with a camera came through his father, who filmed interviews with public officials like Ronald Rice and Sharpe James during summers at Essex County College. Young Rock and his brothers would visit the set and watch. The cameras were large. The crew looked focused — but they also looked like people doing creative work and getting paid. It didn't look like punishment. It looked like a life.
He tried rapping first because the neighborhood had that energy and his basement had a studio where people came to record. Then he realized rapping wasn't his lane. He picked up the camera instead. Around 1996, still in college, he started filming the artists around him. Notutorial libraries. No treatment templates online. Just BET, MTV, countdown shows, and the discipline to piece it together with less than today's filmmakers start with.
The turning point came with "Big Homie" — the Puff Daddy video featuring Rick Ross and French Montana. The shoot moved across New York, Miami, Los Angeles, and Atlanta. That kind of footprint told the industry something. He could operate at a higher level. The respect shifted.
Then in 2019, he directed intro content for Mary J. Blige and Nas on the Royalty Tour. Watching that work fill arena screens — not a YouTube window, not a monitor on set — hit differently. Some credits change how the room looks at you. Others change how you look at the work.
His wife sits at the center of how the machine actually runs. She handles producing, paperwork, emails, accounts, and the infrastructure that lets him stay focused on the creative call. He compared it to chess — and meant it as the highest compliment. The queen makes the king's game possible.
The Work Starts in the Notes App and Ends on the Big Screen
Davis broke his process down the way working filmmakers do — not glamorous, not abstract. Just honest.
My First Feature started in the Notes app on his phone. He wrote it in 2016, sitting in parking lots while driving his wife between stops for her pharmaceutical job. He built the beginning, middle, and end before he touched a single line of dialogue. During COVID, he showed the script to Prada Jones while the two were already working together on music videos. Jones read it. Called halfway through. Said he was in.
That became funding, location scouting, casting, and production. Davis didn't hold auditions — he already knew the actors he wanted from working alongside them. He edited the film himself. It premiered in September 2022. Then his mother passed in 2023 and the rollout slowed. He's returned to finishing it.
Steps came together under different pressure. Production began and then stopped three days in because he and his wife had booked a trip to South Africa months earlier — before the shoot was even scheduled. The production paused for 17 days.
It could have broken the project. Instead, the team came back hungry. The freezing weather pushed everyone to move with more purpose. The delay ended up helping. That's not a lesson from a film school — that's what the set actually teaches you.
For music videos, the rhythm moves faster but the bones are the same. A label sends the brief and budget. Davis builds the concept. His team locks locations, design, crew, and logistics. Production happens — often with local teams in cities across the country. Then the footage moves into editing. Pre-production is still the most stressful part. And pre-production still decides whether the shoot day runs well.
Lighting Is the Foundation. Everything Else Is Built on Top.
When Davis talks about style, he doesn't start with camera brands. He starts with light.
Back in college, he and his friend Al Patel paid close attention to how films lit faces and spaces. Why does this actor look great here and flat in the next frame? Why does this scene feel rich when the setup is minimal? For Davis, the answer kept coming back to the same thing — the light.
That obsession became the foundation of what people later called the Rock Davis look. And it comes with a piece of advice for anyone coming up: technical mistakes block the audience before the story has a chance to land. Bad sound pulls people out. Weak lighting does the same. Dark images work when they're intentional — The Batman earns its darkness. They fail when they look accidental.
On the technical side, the Canon 5D Mark II changed the game for his generation. Suddenly, filmmakers could shoot footage that held up without the film workflows that once slowed everything down. Film meant waiting to see what came back from development. Digital meant review, delete, adjust, try again. He also pointed to the Sony FX3 and cited The Creator as proof that a small camera body can still carry feature-level images.
The other side of directing lives in actor communication. Davis believes a director who can't speak to a performer is working with one hand behind their back. He recommends acting classes — not to perform, but to understand what an actor needs in the moment. Because the actor is the one putting the emotion on the line for the scene. And emotion is what makes the audience stay.
People don't go to films to watch technique. They go to feel something. The craft exists to get them there.
Newark Deserves a Full Room. Every Time.
Davis spoke plainly about race, representation, and what it costs Black creators when their stories get boxed into narrow assumptions about audience reach. He doesn't accept the argument that films centered on Black life are too small or too local to travel. Great stories move across borders. That's not a theory — it's the history of every film that mattered.
The bigger issue is support. And the part of his conversation that carried the most weight was about Newark specifically. He wants local screenings packed. He wants the city showing up for creators who came out of the same neighborhoods. Too many people stay home while projects made by people from their own zip code play to thin crowds. That gap frustrates him — not because of pride, but because of proof. Audiences tell the industry where value lives. If creators want stronger financing, bigger rooms, and broader reach, local scenes have to show up loudly and often.
He said it plainly: we need each other.
That's not a slogan. That's a business model. And it's the same reason OTSA is rooted in Newark — not as an aesthetic, but as a responsibility.
The Craft Is What Lasts
Rock Davis has been making a living from filmmaking for more than two decades. The co-parenting documentary is near the finish line — and he sounds more excited about that one than anything he's made before. The idea came from his own divorce, and from realizing how many families walk through that experience alone. He's turning that into something that can help.
A bigger-budget feature may be coming. He wants to push into action — faster, more kinetic, more restless. Television is still in the plan. And the Rock Davis Logo Acting Experience continues to grow as one of the ways he brings people into the work.
Twenty-plus years in. Still building. Still directing. Still pointing at the work instead of the photo. That's the standard set life actually runs on. And if you're building your career inside this industry, you already know the uniform for it.
Find yours at onthesetapparel.com
OTSA #OnTheSetApparel #RockDavis #NewarkFilmmakers #SetLifeCulture #MusicVideoDirector #FilmLegacy #CreatorUniform #BehindTheFrame #NJFilm #IndependentCinema #OnTheSetPodcast
Director’s Notes
Key Takeaways
01
A director is the nucleus of the set, not just the loudest voice.
02
Craft still matters more than social media optics.
03
Newark shaped Rock Davis before the world became his set.
04
Lighting, preparation, and emotional storytelling are what last.
Full Interview Transcript
that's my problem with with so many people doing it just because you did it that don't mean you supposed to be a claim for it Instagram era has made it all about a photo op opposed to doing the work everything's a photo op so uh I do it too but it's it's a fun process some of some of the times the stressful the the pre-production aspect is very stressful the um the production aspect of it is with all of the Blood Sweat and Tears happen how do you get into these big rooms with these big companies and these big uh uh celebrities to the call the Ross Mary J N and all that so um I'm grateful for that I make a Liv I've been making a living off of this for the last 20 something years just being a filmmaker it's not easy to do think about that if you if you're doing a project and hitting the right way hit you hit you emotionally hits you artistically hits you visually technically that means you kind of get the spectrum of how things supposed to go and then I'm in the process of doing a documentary about co-parenting I'm almost done with I'm finishing know feel I feel good about it because it's definitely going to shed light on a lot of cool things that uh that can benefit the child in the midst of co-parenting and things of that nature so I've been fortunate that to take a little bit of luck a little bit of hard work a little bit of the universe and just you know just kind of made it what it is I just want to say this real quick while you're sitting here I want to be like you when I grow [Music] up hey before we dive into this amazing interview I have to take a moment to give a huge shout out to our sponsor spor on the set apparel they are all about quality gear for creators like us with clothing designed to keep you comfortable and inspired on set ensuring that you feel and look your best as you pursue your passion so use code otsp 20 for 20% off your next order let's get back to this amazing interview and don't forget to use that code and tag us for a shout out peace welcome all my creatives to the Ironbound filming television studio in Nork New Jersey the home of the exclusive on the set podcast where we take you behind the scenes of the captivating world of film making I'm your host Steven Strickland and today we have a phenomenal episode lined up today we're going to Deep dive into the world of filmmaking and explore the art of directing which is crucial to film making shaping The Narrative and bringing stories to life on the screen now our guest today is not only an expert in his field but is a passionate Storyteller he's worked with iconic record labels such as Island Def Jam Universal Atlantic Records inter scope bad boy Rock Nation he's collaborated with A-list celebrities like the Notorious BIG Mary J blig the wuang clan nauy by Nature red man just to name a few he's directed uh music videos feature films and commercials and exotic locals from Africa to Australia Bangkok talk to the glitz of Dubai and iconic locations in London and last but not least well not last but he's also the CEO and founder of the rock Davis logo acting experience so everyone get your director's chair your favorite flavor of popcorn turn the lights out and let's roll out the red carpet for the acclaimed director my good friend Rock Davis up how's everything Rock everything is good man how you doing today the mic right here yeah yeah yeah pull that in how you doing man good to see you I'm good how you good to be here as always all right good good good so uh we're about to start everybody in the back so you know what was they working on man thank you I I don't know okay um so rock man it is so good to have you here uh we met many years ago I don't know if you remember we met in this building yes you were doing a music video for uh I forget the name uh yeah I forgot the name too Nina something Nina something the video was fire though I was playing cards downstairs and they came to rob the joint yeah I was an extra in the video and and you said somebody knows something somebody somebody said somebody knows something somebody got it was Eric yeah somebody got to know something but then you said something whatever I said yo this [ __ ] act oh thank you man look at you now right but I'm still not in one of your movies um so I got you I got you I got you I got you that's funny so rock yes is I know that's not on the birth certificate bro where did you get the name Rock from so it's a Muslim name it's on Rockman it mean it means the beneficent the merciful okay my father named me that U my older brother name is Ramses U my little brother name is Raheem so my father name is Robert and my mother name is Rosetta so they used to call us the rag family because it's Rockman Ali Davis Ram Ali Davis Raheem Ali Davis Rosetta Ali Davis and Robert Ali Davis so we called the rad family in our neighborhood the Brad family all right yeah so it was uh nice little play on words for us back in the day cool and like I said in the intro man you've done a lot of things man how do you keep it all together what's your what's your support system like what or who is your support system well uh you know if so so should I go back to how it started or just right in the moment the moment right now who supports you the most U my wife um because U she the ones that run the show so she allows me to be a kid because she Tak care all the heavy lifting all the producing all the paperwork all the emails all the bank accounts okay so um I guess you can call that a perfect marriage that's that if that makes sense so I was fortunate enough to find somebody um that was heavy into not caring about being in front of the camera not carrying in be seen wouldn't be behind the scenes because that's how things work anyway and um I grew up playing chess and I knew the queen was always the one that could move anywhere and make things happen while you just sit back and play and play games so that's why I kind of equate that to when I'm on set playing uh playing director and uh stuff like that you know because I try to feel like it's a video game I grew up playing video games so I always feel like I got one man and I gotta try to make this thing happen and uh that's how I try to live my life like I got this one chance to make everything happen so I never try to like uh leave anything unturned that makes sense yeah so I try to do a lot of different things and Dibble and Dabble different aspects of the film making Pro process so all right so before we support system the family good good good shout out to the family shout out to the wife um before we get into you know how everything started let's talk about what you feel the role of the director is on set and how it differs from all of the other positions understand well we the ones that's always putting out the fires uh we the ones that's uh everybody's looking to we have our hand in every aspect of production may not be the main thing let's just say set design they asking us for uh suggestions or how you feel about this the actor asking us about blocking and motivation and things of that nature the uh DPS asking about lighting setups and things of that nature so you got to wear many hats at the same time be the captain of the ship um as a work for higher in the sense of uh the producers pretty much the ones that got get everything together for you and the director is pretty much there to kind of wrangle everybody together and Galvanize everybody to get the stuff together and get it complete dayto day so the the um I want to say we the nucleus of it like to say I'm sitting in the middle everybody's pulling on you and asking you things whatever so I kind of like equate that being a director it's like the nucleus of a production keeping everything together nice nice so now you know now you know if that makes sense we're about you know uh educating you know the upcoming filmmakers creatives everybody that's going to be watching and and or listening to this podcast this is for you this is a podcast for creators by creators so rock has there been what what misconceptions do you think people have about being a director uh that's a good question um in the sense of uh like like what you see the finished product whatever you think okay he just he got the job he knocked it out getting all this Acclaim and it's good to go everything is Peachy it's long nights uh if you're editing the film yourself you're sitting there editing it if you're a part of the editing team you there long nights uh you're dealing with actors like those rehearsals and things of that nature so it's a lot of time consuming uh steps that take to get you to that point of being a good director and even like kind of respect it because uh everybody's doing it now so you can get a business card and the camera and send your director and it's just like wow you got to serve through all this madness to get somebody that's vested in your project some that's locked in with you whatever and things of that nature so I just say man this Instagram era has made it all about a photo oposed to doing the work everything's a photo op so um I do it too but but I got but I got work to back it up you know uh so that's the misconception like it's easy because uh it's Instagram you got this platform you can post anything saying I'm on set like right now this this this could be a Shabby production but you see me on set with all the stuff like oh they doing it big whatever so it's that that's the misconception of uh what's in your face supposed to what's behind the wall behind the uh behind the curtain it's almost like The Wiz of eyes like what it's this little sucker behind it you know I'm saying like that so the um the production aspect of it is where all the The Blood Sweat and Tears happen and everybody think the director is the one that's doing everything but we're not okay so in the nutshell it's just like it's not just him that's in charge of everything it's everybody coming together and locking it and getting the project done the right way it's a team effort yeah it's a team effort that's right that's right that's what it's all about that's why be a director because they think it's just about them and it's just them right ossing everybody around telling everybody where to go it's actually the complete opposite you having to compromize you having to take suggestions you having to listen to certain things or whatever because you might have it all mapped out and somebody might give you a suggestion about an idea that might change everything but it might work for that so things like just just kind of being flexible in the midst of kind of in the control of things but still being flexible to make things happen Okay so now we now that we know what the role of the director is what you know inspired you what or who inspired you to get into directing yeah so it's a funny story so my father used to do it exus County College during the summer uh he would interview like uh public official like Ronald rice back in the day sharp James and uh during the summer he would bring me and my brother's down there uh to set just to see what he was doing and I would come on set you know they had these big EG cameras guys micing a couch uh interview set up and everybody having a good time like yo this don't even look like work they having a good time and they getting paid to do it so I didn't know what I didn't know know what I wanted to be when I was growing up and then my brother was like yo why don't you do that whatever I see you like playing with your father's camera my know my our father's camera and I just started it a old digital a camera and I started filming my guys in my uh my neighborhood because we used to have a studio in my basement everybody used to come down here and rap and I wanted to rap but but I sucked at it so I said you know what let me pick this camera up and then ever since then I want to say this is around 1996 wow some of y'all probably not even born in here 1996 maybe wow but um yeah so that's that's when I first kind of really picked up a camera in ' 996 and I was still in college and um I just started filming my gu shooting music videos real shabby stuff but it was it was a start okay you got to start somewhere you got to start somewhere man that's that's yeah but nobody wasn't doing it wasn't on social media wasn't on YouTubes oh yeah yeah yeah so you had 10 slots when I say 10 slots it's bet MTV the top 10 I'm sorry the top 10 videos you know URL countdown all that stuff whatever that's all it was it wasn't on YouTube to see a million videos and get ideas like I remember me and my partner old partner used to uh go YouTube I mean I'm sorry yeah I want to say YouTube at beginning and like internet and just like trying to uh find what a treatment look like a video treatment it was like pulling teeth but now you can pull up anything whatever they got people selling packs about business related aspect with film things of that nature so the world's come along way um so yeah if I answered that question yeah you did I can talk too that's good man that's why I don't like talking but I can talk that's that's why we're and that's why you're here we know you like talking we going to make you talk today but but I can talk and share these sh G and these stories man because want to know this is what we doing we're taking everybody behind the scenes you know and uh so tell us can you give us your process from conceptualizing an idea to it becoming you know on the screen cuz we know you know a lot of the process behind the scenes shines you know so I take you through the process of uh one of my films I just done called the first my first feature it's actually about a kid trying to get a film done so it's very highly relatable to you guys that's in the film making process so I remember uh when I wrote it back in 2016 my and my wife at the time had a pharmaceutical job and to make her job easier I would drive her around to her stops so she can like get all these marks or whatever we cuz U if she had incentive if we kept beating her whatever we can go to ruber every year as the employee employee of the year like so we went three times already because I was driving around drop her off instead of her parking and taking her time and trying to find parking so in that time I was in my in my phone just like writing a notes I had this idea so that was the brain challenge like right in my notes like this guy about to get this film done what happened beginning middle end and then I started have to I started having to uh start thinking about dialogue and how would that person sound like so then I got the script done so then uh during co uh a good friend of mine Prada Jones I was shooting a bunch of music videos for him and um we you know everybody was just stuck in the house I was like bro I got the script you might want to look at whatever we should probably put this film together and um he looked at it he said all right uh let me read it so halfway through he call me it's like bro I'm in I like oh yes because I don't like asking people for anything because you know we we work for high so we make money by doing what we do right so then we got the investment the money came in whatever start scouting location and things of that nature and then um the casting I didn't even do any audition because all the people I worked with before I kind of knew who I wanted to play different characters and then we got on set made it happen U fast forward to the editing process I sat there editing myself and then uh I had to Premiere back in 2022 of uh September and then sadly say my mother passed in 2023 so it kind of slowed the process now but now I'm back and I'm about to go through the process of actually putting it out this time so so so from top to bottom I wrote it helped produce it directed it edited it presented it and then uh that's where we at with it right now all right so it's a fun process on the filmmaker tip right yeah as far as the film making and getting the narrative done music video stuff um reca label call us they give us a bid say this is the budget come up with an idea it's open concept if you get picked it's the same process my wife comes in then uh she starts wrangling people together like set design uh locations if if it's out of state we got teams in the LA teams in Miami teams in Atlanta stuff like that because you know you baby yeah yeah so you meet people whatever they got their own little production houses is in those towns and you kind of link up with them to make things happen and you know just kind of they your eyes and ears while you're not there uh in in a pre-production stage to kind of get to kind of get everything together for the the production that's coming up so it's it's a fun process some of the some of the times it's stressful that that pre-production aspect is very stressful mhm but when you end it the day of whatever and then I don't edit a lot of my stuff now too so I get paid for one day I'd be happy you know what say but back in the day I used to edit everything so I came a long way in the sense of uh uh delegating certain projects and things of that nature so uh so let's talk a little bit about your other film uh steps okay yeah yeah yeah right and you mentioned earlier how it's a collaborative effort now somebody might give you an idea and something it might help the project was there anything that happened during steps that had an impact that changed and had an impact on the outcome of the film uh like something like maybe you didn't expect and maybe somebody gave you an idea and it might have helped or was that another we go in get in and get out well the the good thing about the good thing about the steps whatever it was freezing too it was I think we shot it around like January but it was a funny story because U me and my wife had booked a trip to South Africa M back in October and we started shooting in January I just want to say this real quick while you're sitting here I want to be like you when I grow up okay okay go ahead okay so but anyway I never been Africa so so we had um started shooting like three days in that we had to stop for 17 days and wait for me to come back so we started production 3 days in I was like I got to go so everybody just sitting around like everybody liking your picture like oh you're having a good time and then we came back we got we started back up again so that that was a funny story and I think that changed everything too because everybody started it like I want to get back to it okay and when did we shoot that think we shot that in 2014 the top of the Year okay yeah but that was the funny story about that cuz I had to stop production from like yo I'm going on vacation everybody I'll be back wow and um and my at the time my partner Jay was still directing um but he said I just wait till you get back so gave by some time to look at the stuff that we already shot then when we got back in everybody was full-fledged and locked in with that so that's so that that's the thing that stands out to me cuz I remember everybody like oh we got to stop why we got to stop I said oh I booked the tri a while ago I'm sorry I couldn't change it so that was that was the weirdness of that but it actually turned out to be a good thing with cuz everybody kind of got jailed the first 3 or 4 days and left out then when we come back everybody's more hungry to get it done 17 days was a long time too that's a long that's like almost what was that almost three weeks yeah 17 days yeah S4 yeah we got back in February it was freezing so they they was they was more dedicated to get more than ever to get it done because it was so cold out there so it was definitely a fun project though um shout out to my man Eddie uh Rob Morgan which is a big star now oh out was the main character Rob J OB J J Jay played the intricate part because he actually we had paid some editors and then he came back and didn't like it and he edited the whole thing itself so shout out to Jay Rodriguez for sure okay yeah shout out to Jay Rodriguez so to stay to stay relevant and you know uh proactive uh for lack of a better word in this industry as a director with all these new industry Trends understand how do you how do you you know maneuver through that how do you how do you stay relevant for lack of better work uh the inside um I I no this uh it's about who you know whatever so I'm cool with a lot of video commissions for labels I've done work for people whatever so you know you know these social media platforms is one Avenue to kind of take but then um I'm always in cahoots I'm always going to the events where you know if they throw events I'm always making sure I show my face at these like music video junkets these uh film per and things that nature that's where the magic really happen social media is one thing it's almost like for the fans but to actually Network can really sh you know just kind of rub shoulders with the people that matter I try to stay locked in with these guys uh good friend of mine Kareem Johnson is uh the head video commissioner over there at uh Atlantic and uh he does a lot of big stuff and uh it's one a good friend of mine he's actually in my movie one of the characters so just stuff like that you know just kind of like become becoming friends with these guys and really having a relationship with people that's um that kind of greenl things as far as production all right and how do you keep up with how do you keep up with the uh the latest filming you know technology streaming platforms and digital Technologies things like that how keep I'm 46 so okay I'm like a old dog like I'm not trying to Lear any new tricks as far as like the technical aspects of it so I would love to yeah no n but but at the same time I um I delegate and reach out to people that know how to do that kind of thing and then I just kind of incorporate my idea and see if they can Implement that so yeah so it's just a matter of just like kind of wrangling people together because um you know everything moves so fast so if you learn something today it's going to be old tomorrow so I'm like I ain't got no time for that me personally as an older filmmaker so so what I'm saying is like I just try to um if you know how to do that I'm gonna reach out to you kind of build that relationship whatever and just keep working and keep building on that if that makes sense no no it definitely makes sense um I'm kind of curious what is there can you pinpoint one specific um piece of technology that's in your repertoire of your your equipment that has changed the game for you or have or had an influence on how you you know how you go about directing well just the fact that the smaller cameras just in nature by Nature I remember um when I first started we were shooting on film and um with the DSLR came out I want to say 200 10 or eight I want I'm tripping it was um it was a uh Canon Mark 2 so that changed everything so you know back in the day you had these big film camera things of that nature so when that Mark 2 came out it kind of made you shoot like you could take pictures and you can have video whatever so when that came about whatever that made my market share go up through the roof because now we got the ideas out quicker it was uh less space um it was more time for you to sit there and edit it because back in the day you would shoot a video take the film there what get a develop might take a week you sitting there hope it's exposed the right way came out right see how all those issues thinking in your brain but now you can look at something I don't like that we can delete the foul or take another take but back in the day it was a little harder with uh actually seeing touching it like real time gotcha so I want to say just the just the aspect of the these smaller cameras these these Pro suuma cameras you see all of us right now we can pretty much shoot a film with that with the Ursa we can shoot the film with the Cannons the uh the Sony so shout out to the cameras yeah shout out to the cameras that's right shout to the cameras make us look good so I want to say um just the um what's that movie uh with uh Denzel's son and they shot it with the uh Sony fx3 uh tenant no the other one uh by the little boy had a little circle in his head like futuristic what it called the Creator yeah bro they had this little camera but they had they had the biger L on it but the house the house was uh like this yeah you said the fx3 yeah yeah Sony okay A bit I mean I would say had the best lenses but the fact that they shown you like bro you can get things done with um a smaller body okay um you know less Comfort some in a sense yeah all right so again you know with with with Trends I don't really want to call this a trend but this new day just new new new age New Era kind of kind of Vibes yeah but in addition to that diversity and you know uh uh inclusion in the different films and and projects you know how do you how do you navigate through that you know do you do you feel that it's necessary I don't say necessary but do you adhere to that you know you got to have someone of this color this nationality this gender or whatever in your film do you adhere to those yeah I mean you know cuz you know me me being a um person of color in the film space whatever so you know you you start from this sad to say you know we we looked upon is just uh being a monolith of people whatever it's a certain genres either whether it's comedy whether it's Urban films whatever but there so much more to us than that so we definitely have to diversify and bring include different people and different nationalities to kind of make it bigger so it's not just about us you know what I'm saying because you know the powers that be they had to do it too they had to kind of include kind of bring everybody in and say okay we have a field sector dealing with the urban division we have dealing with the Latino division so they get it too because it's money and all this whatever so we just got to understand like we just got to come together as our black creators just to kind of uh really sit down like kind of lock in and get stuff done you know what I'm saying because that U our biggest problem I think is you know just the finances nobody believes that the film is can make money and it's a small demographic for it and it won't sell internationally all that I think I think that's BS right it's just about telling great stories and people just like locking in and we as um fans too and like viewership whatever we have to go go support these fils whatever because you think okay I'm going shoot my fil just support my film but I don't go see nobody else's film yeah and we got to get out of that you know what I'm saying not to say all films going to be great but just like support per because that's how they do it not not not not to have not to be divisive on that but even if it suck whatever people going to they going to support it whatever just to say that we here to stay we have a a viewership whatever we have a market share so every time you come to us whatever you know you're going to get this number here right but I think our problem is without nobody really knows if it's going to hit every time because it might be lackluster this time it might be great this time it might be in the middle so and that's just because we just lazy as consumers I believe for ourselves we we want to buy everything else but we don't want to support what we do um I'm not sure I'm not sure if that's a a competition thing because it's always they always say the affirmative action kind of play a part in that like only be one so I think we all fighting for that one spot I think that's a problem yeah it's it's it's more than one spot I'm saying it's more than one spot but we only think it's one spot but it's more it's more than just one spot in my opinion all the shine and have a good time and I mean and the end of the day it's all about doing great work too like just because you did it don't mean it's good that's my problem with with so many people doing it just because you did it that don't mean you you supposed to be a claim for it like t-shirts coming soon just because you did it don't mean it's good yeah I mean that's that's just where we at so many people doing it that should be one of the on the set podcast part of the on theet brand just cuz you did it don't mean it's good I'm looking camer I just want 4% not even five I'm Jing right here right here yeah right here yeah so that's that's that's a big part we have to play we just have to support more because like even the film festiv that we have at um at the Sha the or whatever like it sh that should be sold out every time yo yo as literally people that's like us sitting in the house when it's a premere going on so so so if it's 100% it's about 30 it's about 30% there it should be all of us there every time so come on out this year yor got something coming out yeah it's a lot of good things coming on man so we just got to support all locally first so we can so so it's noise around us yeah because we don't support it locally it's like okay why we talking about nor why ain't nobody ain't nothing going on there because there ain't no fuss about it we should start making a fuss about everything we do I promise you it'll take off if everybody supporting everybody yeah so if you haven't learned anything from this right here promote NK okay if you're from The Brick City represent the Brick City Rock he said nor raised I'm nor we're try this on the bandwagon see what all the is about all right cool that's the word f we need y'all we need each other yeah you feel me so much content out there too so yeah it can't get Jed but you know it yeah okay so let's let's step out of n for a minute I know we talked about you know for sure cuz you you you're world now man your world traveled you know uh how I think you touched on it a little bit earlier but how do you get into these big rooms with these big companies and these big uh uhh celebrities you know if you will and how has that been for you how it has it changed your life what yeah for sure yeah for sure because um I make a living I've been making a living off of this for the last 20 something years just being a filmmaker it's not easy to do I I know I know other people have like jobs they trying to do um they have full-time jobs they survival jobs yeah so um oh I do want to shout out my man nigu Tally's uh New York head um he's the one that's got me all the bigger clients cuz you know he's the industry head got one foot in and one foot out and uh you know he put me in rooms for all these big artists like from the diddies to the Callas the Rosses the Mary J bles the Nazis and all that so um I'm grateful for that saying he he saw something in me what he believed in me whatever and I want to shout out my mentor um somay Davis definitely definitely yeah he's uh he's in South Africa now doing all the big Netflix stuff for South Africa uh content and um that's who I was going to Africa with when I first started in ' 08 MH the first time I ever went we was back and forth there A lot of times I actually lived out there for like three months which was a our opening experience uh back in 2010 uh before I had my daughter and it was it was it was just it was just mindboggling how how beautiful that country is whatever anybody act like it's so poverty stricking and all this BS it's like it's like they lied to it I remember going on the plane everybody everybody on the plane was something else but me I probably like the only black person on the play I'm like the hell going on here they Li to us what everybody else is going in why we not going right right yeah so I always tell people man hit that continent I'm I'm not saying we all from there but it's definitely the origin of of the world it happens there all the resources all the minerals and things that nature and um I've just been blessed to be honest with you because um I consider myself a humble person I don't really talk a lot of smack um I feel like I kind of you know know how to how to relate to people obviously being a filmmaker if your stuff is good you that means you get it like right think about that if you if you're doing a project and it hit the right way hit you it hits you emotionally hit you artistically hit you visually technically that means you kind of get the spectrum of how things supposed to go right so I proud myself I'm being technically sound when it comes to this film making process and um yeah just been fortunate man I've been I I guess I guess you can call it luck too cuz you know they say uh preparation and something something luck equals something else and blah blah blah but um I've been fortunate that to take a little bit of luck a little bit of hard work a little bit of the universe and just you know just kind of made it what it is I know that's right uh you mentioned Nas and I forgot to mention that we just shot here had in ghost face in Ghost Face yeah what was what was the video what's the song oh it's called Scar Tissue prol yeah all right everybody has their what they consider their breakthrough moment or their big break yes sir do you remember what would you consider your breakout moment well in the music video space um you know I started out doing music videos and um to uh actually get in the same room with uh Puff Daddy uh P Diddy with did a video film called Big Homie and um that was a big deal for us because um you know he's considered the music video king as far as budgets and the lavishness of his uh Productions all the artists he had and things of that nature so for him to trust in us that was a a feat for us uh itchy house films at the time shout to shout man J Rodriguez U you know we kind of broke down a lot of do so I'm always indebted to him and um that was a uh a defining moment for me personally too because I'm like you know I grew up watching these guys that was my era you know I'm saying I was a kid running around um thinking thinking think thinking thinking thinking who I'm supposed to be and thinking who I am in the in the entertainment business and uh the hip-hop space whatever so that big homie video uh with Puff Daddy in that was uh so it was a good time yeah yeah so and then then after that people just like kind of start looking at us a little differently okay um a little more respect you know things that nature yeah so it felt good where' you where' you shoot like where' you uh we shot in we shot in um New York City shot in Miami we shot in La we shot in Atlanta so he's moving around he had us moving around so okay um it was it was a big deal it was a big deal I think we shot that in 2014 okay and everybody was uh you know Instagram was still like kind of new I want to say like 2012-ish Instagram came out with 12 right so you know it was all about the pitches and you know it was it was a fun time on IG now it's all over the place but um it it was just a fun moment for it to happen around that era uh post IG era all right yeah so big homie Big Homie start calling us big homies okay yeah I'm no big homie to nobody but I I feel good about yeah you a big you're a big homie man how tall are you 6'2 you a big homie you're a big homie I mean I'm a big homie cuz I'm fat but you you big cuz you tall you big that that was that was um my our breakthrough moment to be honest with you in my opinion in my opinion cool so make sure you check out big homie go Google it go YouTube it right now big homie was it um Diddy it was his song had Rick Ross and French Montana uh but who directed it it Davis ity house ity house rock Davis go check it out yeah man your name your name Rings Bells man you know um people say rock Davis oh I know rock Davis that's that's my dude you know I haven't been in his film yet but um I got you I promise man you know I always mess with you with that um but being that you've worked with all these people right has there ever been a time where I guess maybe aside from Diddy has there been a time where you were like Star Struck so when I when I did the thing for uh this is 2019 U Mary J blah and Nas had a tour they they had a royalty tour coming up and um we got we we we got signed on to do the uh the intro that come from a drron so I'm like so I didn't I never met n on RJ BL yet so to get them two together at one time I was like ah can I grew up on it my ER was that you know what I'm saying so that that was a star struck moment for me now I see now now we cool like we know we we we did a bunch of things together same thing with Mary um but that that moment back in 2019 that was a big moment for me CU I remember being in La we shoted I was like nervous to I was like a they had these stars come in but then I had my first ad he he was the mouth P I was like oh I'm good do that so it was it was a fun thing shout out to my man Joe Ley the DP on that uh legendary uh DP and so to get a chance to work with him too who who I looked up to so I had three that's DP and the two artist that was like a dream come true and shout out to my man NAU uh my wife produced it alongside some other uh production company and stuff like that so it was a big deal and then to see it big at the Brock Clay Center to see it at the Devil Stadium to see it I'm like yo I did this that was that was mindboggling to me to see it big you know you see stuff on like YouTube and you know what on T really see on the jron like scale like that I was that was that was a wild moment for me it it was fun to see it is there any last minute decisions that you had to make on a film where you were F either film or music video or commercial whatever you're shooting that changed the outcome of it like it was going one way you had to make a split split second decision and it changed the outcome or it just made it not really I mean a a lot of times um everything is foolproof um when you get to that stage of actually being on Set uh it might be a freak accident or something like that but I I've been fortunate that I haven't really experienced anything like that okay uh so I'm sorry I don't have an answer for that but uh pretty much been you know I mean I mean a lot of independent stuff things happen all the time like you know uh guy didn't show up or the artist didn't show up or feature didn't show or whatever so you had to wait to do another day a pickup shot but but but that but that happens all the time so it's not really like out of the box so it's not really unexpected because you expect kind of like a Murphy's Law thing kind of expect it yeah exactly it's definitely Murphy's Law what can bad happen will happen so gotta I agree with that I want to take you down memory lane real quick and your life mhm it's your life imitates art right I agree so have there been any experiences in your life that have affected your art either your creative process your your your writing directing style whatever like that anything like that yeah so the uh the film my first featur about a guy trying to get a film done so I took a lot of my experiences and Incorporated that into the film and then I'm in the process of doing a documentary about co-parenting uh that that's a big one because obviously me and my ex-wife situation right so um I I try to turn that pain into something that's like creative and meble visually so the funny thing is when I started it when I started it I was like I I want if anybody into this whatever then I then I started talking to people I say everybody going through this not saying everybody but I'm like oh yeah I got a I got a kid from here then blah blah blah blah blah blah like I say oh I'm not the only one because it felt at the time going through the divorce and all the all the legality stuff I was like I feel like I'm the only one going through this whatever not realizing it's a it's a it's a it's a big deal I'm saying but but a lot of people don't talk about it so um feel I feel good about it because it's definitely going to shed light on a lot lot of cool things that uh that can benefit the child in the midst of co-parenting and things of that nature so it's it's I have a bunch of real enactments like kind of like uh dramatic reenactments a couple interviews whatever so I think a lot of people relate to that okay yeah I'm excited about showing that one I'm more excited about showing that than when I did my first feature really yeah yeah because um that mean that means L I didn't realize a lot of people was going through it until I start interviewing everybody I said oh this is a big deal but nobody talks about right yeah yeah I grew up yeah I grew up my grandmother yeah my mother motherf going get it right and I stay my mom for this time and blah blah blah but you know everybody turned out okay but it's just like you know I was I I had both my parents in my house home so I felt bad for my daughter because that situation I'm like damn how do I figure this out because I saw my mother father my whole life together right right so that that's what made me do whatever because I didn't want to uh just leave just know just walk away from the situation ah this is what it is so I wanted to make it something visually and bring awareness to it because yeah so man that that you know that goes to your intro when I gave you the intro I said that you you know you're a passionate Storyteller you know so things you know really come from the heart so has anything ever any is there a scene or a moment in any of your projects that have hit you in the heart and you knew that it just came together perfectly like so so so yeah so at the end of my film uh my first feature is a situation where the main actor and the main actress got a blow scene about where where is this going to go it's going to go left or go right whatever I had many conversation when I used to date it's like you going to leave me you so I said I said y' don't even have a career yet like what you what you talking about like like so so I I I guess they saw my drive and focus they saw he ain't gonna be around he Ain he ain't even think about me later on whatever so I put that in the movie and uh and and it came out pretty well so I got shout out to my man rich and um the um Lane actress Selena uh Leslie uh they did a great job they they were they were the two main catalysts that pushed that project forward because it's kind of like me and my wife whatever because in the film she's a um a creative director and he's a filmmaker and the fact that they together in this film world where navigating through all this BS to try to getting the film done it kind of reminds me of me and my ex-wife and it kind of reminds me me and my wife now so it's just like yeah so I definitely pull from those sources to kind of pull that together nice nice what are there cuz I know we talked about the different techniques new techniques and new technologies and things with you directing and film making is there anything unconventional or experimental that you tried or that you used that has shaped what would be considered your directorial voice or your directorial style no it just it's just a lot of um studying and like watching films from a uh a different eye cuz I you know a lot of people going in look being detained I always looked at lighting uh so when I first started what I I remember I said I me me my old partner shout out to my man Al Patel I been in college Indian an Indian kid was Super Fly he taught me a lot of stuff about film making we always said lightting we always get the kind of camera you got I don't care about none of that how they lighting this why he look so good why they why she look so good why I look so good whatever so I always started with Lighting First lighting was my biggest thing ever so I would say that I it may not be the answer you looking for but lighting for me was everything so that that's why I feel like if you ask everybody whatever it's always the look like You Got That Rock Davis look whatever I mean it's not a look no more everybody got better looks now I'm just saying at the time it was a big deal so it was based off the lighting okay so I proud myself on the lighting of things or whatever and making sure things look good because you know you know you know you trying to watch the film whatever imagine imagine watching a blockbuster film and the audio sound bad you going be like right look dark over here and it's like when I say dark I mean cuz some films that it's specifically made to be dark like the Batman you know kind of thing so I'm just saying technically you know it looks bad so we all tried to stay away from that early and here I am now what I was making a living off it because because of the lighting I mean it sounds weird it sounds Wild I promise you I mean I made my life right now I can go home and book a trip go any way I want whatever because I made sure I lit things right wow it sounds weird but think about that man it's not weird it's it's it's true it's all all because I took the seriousness of lighting M yeah that's number one for me learn that that's number one learn the lighting even before we got to this set they made sure that the lighting was right so that we could look good for y'all this is Beautiful by the way too see look at that shout out to the team that put this together this is amazing when I came in here they was like you want to go somewhere going on little green room like hell no let me sit right here let me be right here in the m so I appreciate the whole staff honestly honly shout out to the team at on set podcast this is this is a a big deal honestly for nor honestly yeah uh and you know I'm say right right I'm glad to be a part of it glad to have you here glad to be a part of the team you're the best host for this too honestly honestly oh man stop keep going um stop man don't don't do that to me don't make me blush on camera like that at first I thought Kenny was I said what are they doing I said what are they doing I got Kenny's those nah shout out to Kenny too you're yeah shout out to very intricate in all very intricate so if one of your films was a person damn what what character trait pick a film first pick one of your pick one of your films what the film one of the films I like one of your of your own films okay okay I mean I was okay steps and all that okay go ahead which one which okay steps if steps was a person what personality trait would steps have perseverance because you've been through a lot so I say I said that fil was about perseverance okay so I say you know just like uh no a Never Surrender kind of attitude cuz he been through a lot to get to a point if you everybody check that movie out you'll see that's definitely the uh the premise behind that film yeah that's dope that's dope we we here at on the set podcast we like to give back and you know and Pay It Forward okay right so correct me if I'm wrong but are you included in those directors or people that have heard negative or outrageous feedback about your project that you didn't quite agree with or is everything has always been great because it's a rock Davis project no I'm sure I'm sure behind closed doors people say stuff whatever um I've never heard it but okay no no but like I said I mean I'm open to that though because you know it's it's it's it's a subjective thing whatever so you you can't go into it thinking your stuff is the best thing since slice bread so it's just a matter of um taking the criticism you want that though right yeah yeah because you I mean it's it's it's so many filmmakers out here now doing great stuff whatever so you can't think you're the one I can I I can show you I can show you right now 13,000 other great filmmakers other than what we think we are and my own in my head I think I'm this and that I can show you 13,000 other way better directors than I am so that's what I'm saying whatever so I'm not saying humbling yourself whatever I just I just never heard the BS about oh no Rock ain't there that that ain't it so I haven't really heard that okay yeah so so what advice would you give to a filmmaker who who does want the criticism and gets the criticism and they might feel a certain way how how how would you advise them to go about it um you know just getting I'm just getting people around you that know um specifically what to do let's just say you got the DP what make sure you get a good DP and then um it's okay to save some money now and it's okay to save money to get that person that's he might be a little expensive whatever hold back on your project a little longer just to get that up because that like I said cuz I always say you can't unsee something like if I seen this project in this trash whatever you can't say yo all right I'm fix it whatever then I'm have another one next year whatever it's like bro like if if if your first out the gate and the movie is not right there so much other things for me to kind of lock into whatever it's like Netflix whatever if I'm watching a bunch of films whatever I can't come back to he gonna be all right next time let me figure it out it's like bro you kind of wanted done with this CU everything is moving so fast whatever so we can't be hanging on to like yo you gonna get it right next time so I just say just get your team together that's uh that's serious about what they do obviously the lighting lighting is number one for me uh great camera work and obviously the acting too you can have all that and acting is you know it's not you know that you know just you know just being in that space whatever like you teaching people like yo give your best performance you you know you helping people out uh making sure they nail what they got to nail right so you know it's it's an ensemble of things that have to go the right way for it to be uh a magical project in your head right because I always say long as you like it as a director whatever but that doesn't mean it's right so I'm only stand that saying technically it has to be right visually and then the the art Direction and then obviously the acting like that but you have to get that right first and then you can say okay let me go to the board and try to experiment and figure out what I'm going to do next that has to be right all the time in my opinion that's why you get the best actors that's why you get the best DP that's why that's why you had these big Productions because they got the best of the best right so if you like something at that point it's just it's now subjective because they got all the technical stuff right so I say get the technical things right first even on Independent level because everybody think okay it's independent I try whatever I said yeah but you still can get it right independently so that's my biggest thing like just get the right get it right technically first okay and then then we can critique it later gotcha the other aspects of it but yeah but I can't I can't get to the acting but the audio sounds bad and I don't even see his face whatever because it's just like you know what I'm saying it's it's that kind of thing you you said earlier oh I forgot what what I asked you you said the answer was engaging okay um the three uh words you describe director style right so engaging that that kind of this with my next question why is it so important that the narrative or or the script is engaging and cohesive why why is that so important yeah that's why we're there the viewers there to kind of feel something when they walk away from it whether it's something funny something um melodramatic something um you know shocking so I think obviously when they see the trailer whatever they know they know what they walking into so they expecting to be kind of wild based on what you showed me a teaser for right so yes um I think I think that's the reason why we did for the emotional aspect of it the the sound effects visual effects that's all the icing on the cake but we here to feel something the last movie I saw was um Civil War I thought it was cool whatever because they they had shoulders from a um a journalistic uh point of view they wasn't picking size just like we just going through we just going through this whatever and it was like it was like kind of like wow I can see how just because you got a press on the side of your car that you can kind of walk in things and kind of see it from a bird's eye view without getting touched right so I so I thought that was a dope approach whatever so you know me being a filmmaker I kind of appreciate that oh yeah I can go in somewhere and see what it's about without being you know touch or know get out of there unscathed in that in that in that regard so that was that was a uh a cool movie that I saw recently so I always say um the emotional aspect of it should be number one cuz you know you want to walk you want to you want to walk out of it and then have something to say to somebody that saw it with you piece yeah ex conversation starter Yeah Yeah you mentioned lighting as something that's very important for you know filmmakers what other educational Pathways would you suggest filmmakers you know take talking talking to actors yeah uh knowing know um respecting what they do too don't think it's all about you yeah yeah because um they the ones that's uh putting the putting all put putting it all on the line for you you I'm saying I'm not doing that you doing that as a actor whatever so you want to get these concise actionable notes for you to move forward you know in your performance so if the actor I mean so if the director doesn't know how to talk to the actor like you sitting there like well I'm just going I thought he tell me do it this way what I'm just going to ride with her but I know if if I if I can get to A to B then C I can get there with we should show that process instead of just jumping right to it whatever so I think it's a A plus for a director to really know how to talk to actors because that's where that's that's where all the magic happens for you to kind of get those uh performances out yeah as as I really believe that as an acting coach myself I was surprised when a friend of mine who's an upand cominging uh you know uh uh film director shout out to uh Mike Jones um he asked to take to do some sessions with me I was like oh acting he was like no I want to get into the mind of the actor to make me a better director that's fire I was like yo that's deep that's deep I like that seriously like that I um I I suggest directors just take an acting class you you're not in just sit around just to see just to see what that's about honestly yeah we need to know what's next for rock Davis are there any genres that you haven't touched that you want to I would like to do something action because um a lot of my films have been like slow burs like kind of like heavy dialogue so I would like to try my hand in some action see what that's about I I don't care if it's or you know whatever but I just want to have something that that's always moving like I'm taking you somewhere it's never a d moment so uh I'm actually writing something about I can't say what it is but it's pretty dope okay yeah yeah so I mean you can say it we'll just edit it out unless it's and then we got to edit out no no but it's it's it's definitely going to be uh a racy in in a sense yeah okay that that's the word I like I like the word racy yeah RAC so so is that that is that another directing styley engaging racy we got we got to try to get that third one yeah I'm I'm going to figure it out before we out of here all right cool even while the credits are rolling oh I got it and back you got it um what all right do you have aside from a racy action movie uh uh do you have is there this one goal that you have not reached that sound like the s in I agree I agree yeah what's the major goal that you that rock Davis hasn't reached yet that you're still looking towards I would love to do television like you know cuz um well you know you know you've been a part of like that's a big deal to be on TV like um credit is on TV whatever because um you know it's Nationwide um yeah like I mean the the movie thing is one thing because obviously movies nowadays they go in the theater then write the Netflix the next day so that's cool too but um to to get into the TV space is is a big deal for me I think that's pretty cool too cuz TV is not going nowhere in my opinion I like it no it's not but not yeah exactly better why that's why I live I mean when Co happened hopefully you know I pray hopefully it doesn't come doesn't come around again or any other EP epidemic or pandemic whatever um who did the people turn to us actors I mean the directors definitely directed the films television shows like that it's like everybody was everybody was binging Big Time everybody every everybody was binging you know watching the different different shows now if you can run down to us again or mention of what you're excited about in the future like what do you have coming out just to just to reiterate what do you have coming out that you're excited for the people to see and that you're excited to put out for the people yeah like I said I'm finished up the documentary thing is a big deal and then um I I got some I got something on the table that could be directing a bigger film on the budget's pretty decent and I'm excited about that and then um The Rock Davis local acting experience I'm just I'm looking for that to get bigger whatever because um I hav I haven't really been promoting it yet because I've been so busy doing other things but I see it could be a big deal if I really like kind of promoted it because I that's me giving back in a sense whatever to people that uh that want to get into it so I'm excited about that whole process as well yeah and then you know just uh just continue working on in in the world I man with the music video space and the uh the independent films is always a good thing too so you know just happy to be here man rock man that you rock man yeah thank you man that's corny but you rock it's a fact thank you man thank you it's definitely a fact man that was amazing so to our listeners thank you for tuning in today to today's episode man we hope you enjoyed our dive into the art of directing and gain more valuable Insight rock man it was a pleasure to have you here today man thank you for being uh open and and and honest and sharing your unique blend of creativity and and Technical knowhow um we just appreciate you br yeah thank you man appreciate appreciative of this whole situation too man can you tell everybody that's your camera right there can you tell everybody how to get in touch with you yeah so rock davis.com r o c k d a v i s.com and our IG is uh Rock Davis coom same thing without the dot between the S and the c rock davis.com and rock Davis Co cool and I am your host Stephen Strickland you can follow me on Instagram I am Steven Strickland I spell it with a V because pH balance is for women and I am all man you see that right there yeah yeah that's God yeah I made him laugh good got him um don't foret please remember to subscribe to on theet podcast and stay tuned for more engaging conversations with industry experts and until then keep exploring keep learning keep embracing the magic of film making I'm your host Steven Strickland and as always remember do what you love and love what you do thanks Rock on the set podcast good stuff bro