In the entertainment industry, it’s almost difficult to get your foot in the entryway on the off chance that you don’t know somebody on its opposite side.
Maisie Williams’ life changed for good when she was 12 years of age. She had as of late gotten an agent who was also new to the business. Her agent, a drama teacher who saw that a great deal of her understudies battled with getting portrayal, chose to wind up one herself, so she could get things going for them.
“I was maybe one of 20 kids she had,” Williams told Business Insider. “And my second audition was for ‘Game of Thrones.‘”
Williams knew it was a noteworthy part on a HBO drama, and a major ordeal, yet didn’t understand how extraordinary it would consider she didn’t know whether the pilot would get picked up. What’s more, she didn’t know how gigantic the series would turn into, that it would keep running for eight seasons, or that she’d get an Emmy nomination when she was 19.
Presently, with “Thrones” behind her, Williams needs to give talented artists (performers, journalists, filmmakers, and that’s only the tip of the iceberg) the open door she got.
Williams, who wrapped shooting season 8 of “Game of Thrones” two weeks previously meeting with Business Insider in Manhattan’s East Village in late July, calls herself “fortunate” a considerable measure – presumably twelve times in the hour we spent together. She was crisp off a red-eye from San Francisco, where she met with financial specialists in Silicon Valley.
At only 21 years of age, Williams is hyper-mindful of the focal points that got her where she is today. With right around a time of involvement in the film and television industry, Williams has discovered that her story is very one of a kind: the vast majority need to know somebody to get a part on any level, from acting to team. Also, Williams said she wants to battle nepotism with Daisie, an application she helped to establish.
In 2016, Williams took a shot at a Netflix film called “iBoy.” On set, she met Dom Santry, a camera loader. Dom had been working in production for quite a while, and he got the chance because of his sibling’s Godfather, a producer.
“I just happened to have this one guy I could rely on to help get me my first job,” Santry said. “And then on my first job, I annoyed enough people that they took me to the next job, and then on the next job I did the same.”
In any case, Santry thought his struggling creative companions were significantly more talented than he was, which is the place the disappointment began to construct. Williams felt a similar way. Both knew a lot of talented artists who were hustling with day employments or tending to tables. What’s more, they knew some who had quite recently totally abandoned their innovative undertakings since nothing worked out for them following quite a while of endeavoring.
Together, they established Daisy Chain Productions, a film production company whose first film, “Stealing Silver” (which stars Williams), debuts at the Savannah Film Festival in October. After long evenings of talking answers for the most concerning issue in the entertainment industry over lagers in Williams’ London home, Santry thought of the thought for Daisie (a hybrid of their names).
On Daisie, users can exhibit their work in advance and get criticism from different users.
Initially imagined as a website, Santry would utilize his business smart and associations with build up a place where creative individuals could post their work, including their procedure. It would be a place with no visible follower count, where users could securely meet, work together, and give each other important input.
To make this place compelling, Williams – with her long stretches of involvement, associations – would help spread the news, so talented clients got where they should have been, and met the general population they expected to meet keeping in mind the end goal to propel their vocations. Williams’ associations (she is, all things considered, the reason behind why Ed Sheeran had a cameo in season 7 of “Game of Thrones”), began to demonstrate it’s usefulness months previously launch. In March, she and Santry met with agents and customers at William Morris Endeavor (WME) in Los Angeles, a standout amongst the most conspicuous talent offices.
Notwithstanding enlisting talent, Santry assembled a group to build the app (there’s six individuals working at Daisie now, and they’re all under 25), while Williams helped as much as she could as an afterthought, for the most part through FaceTime at odd hours from the “Game of Thrones” set. In May, two months previously Daisie’s dispatch, it put out a video with a little assistance from Williams’ companions including Sophie Turner, called the Daisie 100. In the video, Daisie welcomed individuals to present their work so it could discover 100 artists to embody what the app was about before its launch.
“We wanted to find 100 people who didn’t have any representation, who had no foothold in any industry, but were extremely talented,” Williams said. “And we wanted to bring diversity onto the app to set the tone for the standard of the work.”
Discovering female filmmakers – still a preposterous irregularity in the entertainment industry – was likewise critical to Williams.
“I always think about the female directors that I’ve worked with,” she said. “Because I’ve worked with three or four female directors in my career and some people never even get work with one. For women, for anyone who feels underrepresented within their creative communities, I hope that this is a place where they can really prosper.”
Williams likewise sees Daisie as a hotspot for discovering talent to take a shot at future Daisy Chain Productions ventures. “We have all these incredibly talented people, and we can potentially make their movies with a budget and with production value.” In the coming months, Williams and Santry would like to discover very much associated, compelling artists, for example, Williams herself to represent Daisie over the industries they’re less acquainted with, like music, animation, and writing. Furthermore, once they make sense of how users collaborate with the app (and how frequently) finished the following couple of months, they’ll conceptualize adaptation designs. At this moment, there is no paywall.
“There was this question we would always get early on,” Williams said. “Like, ‘So what about if someone got a career from Daisie? Do you own them? Do you get to control them? Are you the agent that gets to own them, kind of like how Simon Cowell owns everyone?’ And we’re like, ‘No. We’re all about people starting their own careers. At the moment, we want to build something which helps that. And everything else will come later. It will fall into place,” she said.
Until further notice, Daisie – which Williams calls “the social media for misfits“- is Williams’ primary focus.