I’ve always thought of writer, actor and filmÂmakÂer MiranÂda July as someÂone who creÂates her own opporÂtuÂniÂties. Long before her stoÂries in The New YorkÂer, and before Me and You and EveryÂone We Know, the award-winÂning first feaÂture that cementÂed her indie darÂling staÂtus, she was cirÂcuÂlatÂing video chain letÂters feaÂturÂing her own work and that of othÂer young, female filmÂmakÂers. She recordÂed LPs and toured origÂiÂnal perÂforÂmance art pieces.
What a relief to find out she’s a proÂcrasÂtiÂnaÂtor, too.
July insists that her chatÂterÂing monÂkey mind nearÂly deprived her of the conÂcenÂtraÂtion necÂesÂsary to finÂish writÂing The Future, her secÂond full-length film. One of its most comÂpelling parts actuÂalÂly wound up on the cutÂting room floor. In it (above), we see Sophie, the under-employed would-be dancer played by July, comÂing to grips with her own self-sabÂoÂtagÂing tenÂdenÂcy toward proÂcrasÂtiÂnaÂtion.
Of course, the reaÂson we’re able to see it at all is that July, whose indusÂtriÂousÂness sureÂly has earned her the right to spend a decade or so doing nothÂing but watchÂing YouTube and Googling her own name, repurÂposed it as a short, instrucÂtionÂal film (A Handy Tip for the EasÂiÂly DisÂtractÂed), which offers an antiÂdote for those of us who share her afflicÂtion.
(Admit it. You’re proÂcrasÂtiÂnatÂing now, aren’t you?)
In addiÂtion to the soundÂness of her advice, her methodÂolÂoÂgy is endearÂingÂly low-tech. As one who’s been known to attribute a lack of creÂative outÂput to a less than ideÂal workÂspace, I found the clutÂtered, shabÂby apartÂment set both familÂiar and galÂvaÂnizÂing. If we’re going to make excusÂes, we may as well own them. July takes yet anothÂer step by harÂnessÂing them and forcÂing them to work for her.
RelatÂed ConÂtent:
Ayun HalÂlÂiÂday is the author of any numÂber of books includÂing The Zinester’s Guide to NYC and No Touch MonÂkey! And OthÂer TravÂel Lessons Learned Too Late.