In this episode, I’m joined by four-time Grammy nominee Grace Potter to talk about her new record Trespasser, the microfilm series she built alongside it, and the long road back to the film career she walked away from at nineteen.
Grace left film school to become a rock star, signed to Disney in 2005, and wrote the song that closes Tangled, but she never stopped writing screenplays or thinking like a filmmaker. Her way back in started with a music video she wrote and directed herself, and she’s been shooting ever since.
Throughout the interview we get into her guerrilla approach to production, why she’s trespassed on more locations than she can count, and what Mick Jagger taught her about instinct you have to earn.
Topics covered include:
- Leaving film school to become a rock star
- Signing with Disney and writing the song that ends Tangled
- How songwriting and screenwriting use the same muscle
- Why the first idea is usually the right one
- Directing her first music video, and the broken rib that followed
- Guerrilla shooting, trespassing on locations, and working fast
- Trusting the goosebumps as your creative compass
- The Viper Room pitch that launched her film career
- What Mick Jagger’s silver jacket says about preparation and instinct
- Auditioning actors instead of musicians to build her band
- Why she chose microfilms over another music video
- Much More!
This is Episode 282: 4x Grammy Nominee Grace Potter On Making DIY Music Videos & Performing With The Rolling Stones
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Links from the show:
Grace Potter – Album & Micro Series Links
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20 Comments
Nina Caldwell
atGrace Potter’s path from leaving film school to directing her own music videos is such a compelling thread, especially alongside the story of building a microfilm series around her new record. Her experience writing screenplays while becoming a Grammy-nominated musician—and even performing with the Rolling Stones—makes the conversation feel unusually rich.
Carla Zhao
atGrace Potter’s microfilm series sounds like a fascinating extension of the album rather than just a set of promotional videos. I especially liked the connection between leaving film school at nineteen and eventually writing and directing her own music video—an impressive way to bring that filmmaking instinct back into her career.
Paula Delgado
atGrace Potter’s decision to write and direct her own music video is such a compelling bridge between her music career and the film path she left at nineteen. I’m especially interested in how the microfilm series expands the new record’s story beyond the songs themselves.
Felix Zhao
atGrace Potter’s microfilm series sounds like a fascinating extension of the new record, especially given how she returned to filmmaking through a self-written, self-directed music video. I’d love to hear more about how her film-school background shaped the way she approaches songwriting and visual storytelling.
Transcript
atWhat a great conversation. Grace Potter’s path from leaving film school at nineteen to writing and directing her own music videos is such a good example of how the skills never really leave you. I loved hearing how the microfilm series grew out of the Trespasser record, and the idea of treating each video as a short film with its own story is something indie filmmakers can borrow. There were so many practical notes about shooting on small budgets that I used an audio to text tool on the episode so I could keep her advice on guerrilla shooting and editing in my notes. Thanks for bringing on guests who bridge music and film.
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