Daily Routine of a Film Essayist: Filmmaker’s Guide to the 20 Most Asked Questions
Personal insights, techniques, and answers from an independent filmmaker
By Matan Tal
Before we get into the FAQ: I’m not writing this from the perspective of an “online productivity expert.” I’m writing this as someone whose life genuinely revolves around film essays—researching, editing, writing narration, taking notes, building projects, and moving them forward in the real world.
A short sample day (the version that actually works for me)
My day as a film essayist revolves around the laptop—but not in a depressing way. In my own filmmaking practice, it revolves around what stage the project is in. Some days I’m researching. Some days I’m editing. Some days I’m recording narration. Some days I’m reaching out to collaborators or distributors. There is no “one perfect day,” because the work itself changes. 
When I wake up, I start with something that isn’t “hustle culture bullshit.” I’m not trying to impress you with a 5AM Navy SEAL routine. The general routine that actually works for me starts simple: I wash my face, eat a real meal, and I’ll even do something old-school like shining my boots or shaving my face with a razor blade.
Then I go to what I call my FilmBüro—my filmmaker’s office. I’m lucky: I’m part of a collective of filmmakers, and I have my own room in Kreuzberg, Berlin. That space is where the real work happens. My desk is a standing desk. I have hard drives. I have an external keyboard and mouse. I even have a setup where I can mount a mic if I need to record narration. And most importantly: I have space to walk around, because ideas come to me in movement.

I work in two blocks: before lunch and after lunch. I keep lunch light, because heavy lunch kills concentration. After the office, I walk home (around 25 minutes), or I ride if my scooter is functioning. In the evening I might read, take notes, or watch a film—often on Criterion. Then I sleep. 
1. What is the daily routine of a film essayist?
In my experience as a filmmaker, the daily routine of a film essayist revolves around the project stage. According to my own routine, that means: research, experimenting with editing, searching for ideas, taking notes, writing narration, recording narration, and reaching out to collaborators or distributors. 
2. How many hours a day should a film essayist work?
As a filmmaker, I think the question is slightly wrong. Don’t ask “how many hours.” Ask: how many hours do you actually need to complete the outcomes? 
One mistake I made was forcing rigid rules like “I must be in the office 6–7 hours,” even if I only had 3 hours of real work. Then you fill the rest with wasted time. Instead: make a list of outcomes like “today I finish the narration draft” or “today I edit that scene,” and when you finish—you leave.

3. How do film essayists structure deep work sessions?
My approach is simple: I structure deep work by physically going to my FilmBüro and defining clear outcomes. 
Then I work in two blocks: before lunch (most important work) and after lunch (secondary work). 
4. What does a film essayist do in the morning?
The first thing I do—literally—is write down my dreams. I’m fascinated by dreams and the messages inside them, so I capture them before they disappear. 
Then: wash my face, get ready, coffee, eggs, sandwich—simple food. 
5. How do film essayists stay creative every day?
In my view: don’t push yourself to be creative every day. If you force it, you create disappointment. 
Creativity is a muscle and it runs on momentum. The practical key is: write down ideas when they come. If you ignore ideas, your brain learns they don’t matter and stops sending them. If you treat them with respect, ideas keep showing up.

6. How do you plan a week as a film essayist?
I plan my week in a very non-complicated way: on the weekend I decide what I want to accomplish, then I work at it every day. 
7. What’s the best routine for writing film essays consistently?
I’m going to say it bluntly: you don’t “just write them.” You make them—it’s film.
But consistency comes from action: writing ideas, drafting narration, reaching out to people, getting feedback, and continuing to create even one film essay once in a while to keep momentum alive. 
8. How do film essayists balance watching films and writing?
My balance is: office time is for writing/editing, and evenings are for watching. 
If I’m in a research stage, I might watch things during the day—but usually I keep films for evenings and not too late, because if you push past around 10PM, it starts messing with your life. 
9. How many films should a film essayist watch per week?
According to my philosophy: the number doesn’t matter. You can make film essays about things that aren’t film itself. 
I’ve watched over 2000 films easily, and ironically, after you watch enough, you “get it.” Watching out of habit isn’t always good—it should come from love. 
Practically: I fluctuate between 1.5 and 4 films a week.

10. Should a film essayist write every day?
Yes. Write every day. 
My advice is also: learn what morning pages are and understand that concept.

11. How long does it take to write a film essay?
In my experience, it depends completely on the project. It can take a few days or a few months. There’s no one-size-fits-all timeline. 
12. How do film essayists avoid procrastination?
Procrastination is a habit. The cure is building a habit of anti-procrastination momentum. 
For me it means: show up daily, go to the office, and create measurable outcomes like “today I finish writing this.” Procrastination often comes from overwhelm and unclear goals—so you fix that by creating a clear end. 
13. How do film essayists stay focused while editing?
You stay focused by not pretending you’re a machine. Don’t edit for 12 hours. 
My rule: max 8 hours, and honestly 6–7 is ideal to keep the material fresh. Your brain has a limited creative capacity per day. Overdoing it gives you existential fog—which is a real pain in the ass. 
14. What’s the best workflow for a film essayist?
In my workflow, it depends on the stage: you start with an idea, then research, then writing, then editing, then collaboration—and filming in between if needed. 
Each stage has its own workflow, honestly, and that could be its own article.

15. How do film essayists research efficiently?
First: you need to know what you’re looking for—or at least the general area. 
When I was working on The Invention of Chris Marker, I treated it like detective work. I was exploring the online existence of Chris Marker as a world, and the film became the result of that research journey. 
16. How do film essayists take notes while watching films?
I take notes with a notebook, my phone, or an app like Ulysses. 
But I don’t write paragraphs mid-film. I write one-liners—anchors. A reminder. Then after the film, I expand it. During the film you don’t want to constantly stop and start; you just catch the hook and keep going. 
17. How do film essayists manage creative burnout?
For me, burnout is connected to mental overload and that existential fog. 
Swimming and sauna helped a lot when I did it—it cleans excess mental clutter. But the bigger thing is: take breaks. I don’t work seven days a week. I work five. Your mind needs to know there is a break. 
Also: leave the office while you still have energy, not when you’re depleted. When you push to depletion, disaster is coming. 
18. How do film essayists improve their writing over time?
You improve by writing all the time. It’s a muscle. 
Same as the gym: eventually you lift heavier weights. Eventually you write without fear of the empty page—you just write. 
19. How do film essayists maintain discipline without inspiration?
I can’t speak for everyone. Only for myself. 
For me, discipline without inspiration is simple: it is what it is. It’s who I am. I show up even in the desert. Because the next day inspiration might come—and if I already have momentum, I can catch it. 
20. What habits make someone a better film essayist?
The habit is: writing, writing, writing—thoughts, stories, anything. 
Also reading helps: fiction, nonfiction, whatever sparks you. Even looking at images. I have picture books too—like Fellini’s drawings of his dreams. Sometimes I look at those and something sparks. 
Compact Routine Template (Morning / Deep Work / Admin / Evening)
Morning (capture + prepare)
• Write down dreams / first ideas
• Wash face, simple breakfast, coffee
• Get dressed like you’re entering the world (not scrolling into it)
Deep Work (2 blocks)
• Go to your “FilmBüro” (or any dedicated work space)
• Block 1 (pre-lunch): the hardest, most important outcome
• Light lunch
• Block 2 (post-lunch): secondary outcome, cleanup, exports, notes
Admin (don’t let it eat the whole day)
• Reach out to collaborators / distributors
• Organize files / hard drives / next steps
• Write down tomorrow’s outcomes
Evening (feed the mind, don’t fry it)
• Walk + think + notes
• Watch a film (often Criterion) not too late
• Sleep before you turn your brain into fog
That’s the routine—my real one. Not a fantasy routine. A filmmaker’s routine that actually produces work.
If you’re interested in how essay filmmaking continues on the computer screen, read the next article on desktop films (screenlife).
About the Author
Matan Tal — Film Essayist & Filmmaker
I have written this guide to clarify my daily routine, based on my experience, teaching, and practice in independent cinema.