12 Affirmations for Women Filmmakers 

As creatives we know how hard we can be on ourselves. We start looking at other filmmakers on the internet  who seem to have it all together and we think we’ll never arrive like they have. And before you know it we’ve talked ourselves out of even starting. 

Well it’s time to get out of your head and to speak positive about your dreams as a filmmaker. We’ve listed some affirmations below to start you off on your day or even blurt out while your knee deep in creating. 

1. I am a unique creative filmmaker that will inspire other women to use their voice. 
2. I am a risk taker, willing to develop my own Filmmaking style rather than copying others. 
3. I will not make excuses or wait on others in order to develop my Filmmaking skills. 
4. I am directing screenplays that have never been seen before that are penned by my own hands. 
5. I am connected to a creative tribe that will push me to my full potential as a filmmaker. 
6. I am a filmmaker that wears her art on her sleeve. 
7. I am a filmmaker that operates with integrity never stepping on top of others to reach my own agenda. 
8. I’m not afraid to ask for help and I recognize the power in collaboration. 
9. I am inspired by human interaction and I will make time to disconnected from social media. 
10. I’m destined to be a filmmaker and it’s never too late for me to start this dream/journey. 
11. I have all the resources needed for my project. 
12. I will not compare my projects to any other filmmaker. I will focus on creating in my own lane. 

If you have your own affirmations to share drop them below and inspire another woman in our collective. 

Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people. Come hang out with her on Instagram.

Top 5 Picks for Video Editing

We’ve heard of men behind the scenes for years. Now women are becoming less afraid to try their hand editing. We are giving our top 5 resources for any stage you are in as an editor.


Premiere Pro     Price Point 19.99/mo

(You can no longer purchase Premiere Pro outright; you must buy a subscription to Adobe’s Creative Cloud)

All programs have timelines, media bins and a multitude of tools that enable you to perform advanced alterations, adjustments and outright transformations of raw video, audio and image files. If you are graduating from the consumer level there is no better professional editor to start on.

One of the new features in Premiere Pro synchronizes audio and video automatically creating a new unified media clip in your bin that has the audio and video aligned.


Final cut Pro       Price Point 299.99

*Only available for the most recent versions of Apple’s OS X operating system

This editing software is good for both new and veteran editors.

If you are working on a complex project like a music video or a feature, you’re going to have a lot of media elements to work with. Final Cut makes the process of organizing all of your media as easy as possible with what Apple calls smart collections.

This feature enables you to use custom keyword to automatically sort your footage.


Media Composer 8         Price Point $359.88

Media Composer is a complicated application that will stump the unskilled editor. This application is a beat both to understand and to operate correctly. It can take years of training and experience before any individual editor can realize the full potential of the program. If you are an amateur editor this isn’t your cup of tea.

However, if you want to train to be a professional video editor then this is the application to do it on.


Lightworks 11.5                Price Point 299.88

It is missing some features such as the ability to create closed captions. However it’s the only program professional video editing software that is available on all major operating systems. The application itself is quite light weight. A full installation only requires 200 MB of storage space. This is a small fraction of the storage requirements of the top tier applications. Meaning you can install and run this application on even the most inexpensive of laptops.


Cyber Link          Price Point 49.99

This program helps beginners learn the basics of video editing without sacrificing the needs of more advanced users. However, there is no Mac version of this software Apple users would be well served by having an alternative to iMovie.

This editing software offers three main ways to create your video projects. You can use the Full Feature Editor, which is the familiar timeline, or storyboard. But in case you’re not ready to handle all the responsibility on your own there’s also a simplified editor that automatically creates a video for you in just minutes. Additionally, you can use the Express Project module that allows you to fill in preprogrammed templates with your own content, which teaches you how to use the Full Feature Editor.


Shivawn Hill, is a writer, wander, and visual storyteller at heart. She’s currently in production with her short documentary film, Lifting Crowns. She believes that one day soon she’ll form the ultimate group of storytellers who will travel the world to share the stories of creative peculiar people. Come and hang out with her on Instagram



Script Writing Software: The top 5 for Any Stage Writer

You’ve stepped into the world of filmmaking and decided to get serious about your craft as a screenwriter. You kind of know something about formatting but the longer you read books about it you creep into a foggy haze of formatting land leaving your creativity behind in the dust. Don’t worry we have compiled a list of five different screenwriting software that you can use so you can pick back up into your rhythm as a writer.



Celtx Plus            Price Point $0.00 – $19.99 a month            The Best for Beginners

Celtx Plus is full-featured screenwriting software that works for more than just screenplays. This application has the ability to format stage plays, AV scripts, audio plays, comic books and novels. The program provides automatic formatting as you write and saves your characters.

The menu includes tutorials that guide you through writing your scenes. Also includes index card view which reminds you of important points in your screenplay and character attributes.


Final Draft           Price Point 199.00                                            Working Screenwriters

Final Draft is simple, powerful screenwriting software that is the industry standard for professional screenwriters. Final Draft formats your words into Hollywood’s rigid screenplay standard, including font, margins and abbreviations.

Beyond movies, helpful for directors, writer’s assistants, playwrights and even marketers creating a video to sell a product. You have the ability to collaborate more than one writer can work as a unit.

It also tracks all the revisions that occur over time. So if a line has been changed you can search the history and find out who made the change.


Movie Magic Screenwriter          Price Point $119.00

Movie Magic Screenwriter is officially endorsed by the Writers Guild of America East. The software automatically formats your script to industry standards. It supports Screenwriter’s Notes, which is an index card mode of organizing scenes

Note tools allow you to jot down distracting ideas that pop in your head. An outline view helps you keep track of characters and scenes. You can create production tracking and breakdown reports for various crew members to use with scheduling, budgeting.


Movie Outline                                 Price Point $144.95

Movie Outline is screenwriting software that was developed by a produced screenwriter. It is a full featured screenwriting programs that helps you develop your characters and storyline while writing your script (in Hollywood standards).

However, the number of features and tools can be overwhelming for the screenwriter just starting out.


Writer Duet       Price Point     Pro 7.99 a month/139.00 Lifetime Screencraft 99.00 a year/199.00 lifetime

Created by writers for writers. The main page formats your script according to industry standards and includes additional windows for scene cards and messaging.

You can log into the program on a browser and write together in real time. You can all write questions or comments in the messaging feature to clear up any concerns.

You can export your writing in writer duet to final draft, Celtx and other screenwriting programs.


Honorable Mention

Amazon Storywriter                                 Price Point FREE

Amazon Storywriter automatically formats your screenplay as you type, so you can focus on the story and skip the busywork. You can maximize your productivity by using the installable app when you are off the grid. Sync your work easily to the cloud when you’re back online.

Once you finish your script you can submit it directly to Amazon from Storywriter through Amazon Studios’ open-door process to be considered for their development slate.



bioadultpic  Shivawn Hill, co-founder of the creative outsiders is currently in post-production with her short documentary film, Lifting Crowns. She looks forward to the day when she has a team that can help her tell stories of creative peculiar people. You can follow her on INSTAGRAM or catch her wandering around Virginia snapping pictures of building art.

101 Greatest Screenplays


The Writers Guild of America West


  1. CASABLANCA Screenplay by Julius J. & Philip G. Epstein and Howard Koch.
  2. THE GODFATHER Screenplay by Mario Puzo and Francis Ford Coppola
  3. CHINATOWN Written by Robert Towne
  4. CITIZEN KANE Written by Herman Mankiewicz and Orson Welles
  5. ALL ABOUT EVE Screenplay by Joseph L. Mankiewicz.
  6. ANNIE HALL Written by Woody Allen and Marshall Brickman
  7. SUNSET BLVD. Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
  8. NETWORK Written by Paddy Chayefsky
  9. SOME LIKE IT HOT Screenplay by Billy Wilder & I.A.L. Diamond.
  10. THE GODFATHER II Screenplay by Francis Ford Coppola and Mario Puzo.
  11. BUTCH CASSIDY AND THE SUNDANCE KID Written by William Goldman
  12. DR. STRANGELOVE Screenplay by Stanley Kubrick and Peter George and Terry Southern.
  13. THE GRADUATE Screenplay by Calder Willingham and Buck Henry.
  14. LAWRENCE OF ARABIA Screenplay by Robert Bolt and Michael Wilson.
  15. THE APARTMENT Written by Billy Wilder & I.A.L. Diamond
  16. PULP FICTION Written by Quentin Tarantino.
  17. TOOTSIE Screenplay by Larry Gelbart and Murray Schisgal.
  18. ON THE WATERFRONT Screen Story and Screenplay by Budd Schulberg.
  19. TO KILL A MOCKINGBIRD Screenplay by Horton Foote.
  20. IT’S A WONDERFUL LIFE Screenplay by Frances Goodrich & Albert Hackett & Frank Capra.
  21. NORTH BY NORTHWEST Written by Ernest Lehman
  22. THE SHAWSHANK REDEMPTION Screenplay by Frank Darabont.
  23. GONE WITH THE WIND Screenplay by Sidney Howard.
  24. ETERNAL SUNSHINE OF THE SPOTLESS MIND Screenplay by Charlie Kaufman.
  25. THE WIZARD OF OZ Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf
  26. DOUBLE INDEMNITY Screenplay by Billy Wilder and Raymond Chandler.
  27. GROUNDHOG DAY Screenplay by Danny Rubin and Harold Ramis.
  28. 28. SHAKESPEARE IN LOVE Written by Marc Norman and Tom Stoppard
  29. SULLIVAN’S TRAVELS Written by Preston Sturges
  30. UNFORGIVEN Written by David Webb Peoples
  31. HIS GIRL FRIDAY Screenplay by Charles Lederer.
  32. FARGO Written by Joel Coen & Ethan Coen
  33. THE THIRD MAN Screenplay by Graham Greene.
  34. THE SWEET SMELL OF SUCCESS Screenplay by Clifford Odets and Ernest Lehman
  35. THE USUAL SUSPECTS Written by Christopher McQuarrie
  36. MIDNIGHT COWBOY Screenplay by Waldo Salt.
  37. THE PHILADELPHIA STORY Screenplay by Donald Ogden Stewart.
  38. AMERICAN BEAUTY Written by Alan Ball
  39. THE STING Written by David S. Ward
  40. WHEN HARRY MET SALLY Written by Nora Ephron
  41. GOODFELLAS Screenplay by Nicholas Pileggi & Martin Scorsese.
  42. RAIDERS OF THE LOST ARK Screenplay by Lawrence Kasdan.
  43. TAXI DRIVER Written by Paul Schrader
  44. THE BEST YEARS OF OUR LIVES Screenplay by Robert E. Sherwood.
  45. ONE FLEW OVER THE CUCKOO’S NEST Screenplay by Lawrence Hauben and Bo Goldman.
  46. THE TREASURE OF THE SIERRA MADRE Screenplay by John Huston.
  47. THE MALTESE FALCON Screenplay by John Huston.
  48. THE BRIDGE ON THE RIVER KWAI Screenplay by Carl Foreman and Michael Wilson.
  49. SCHINDLER’S LIST Screenplay by Steven Zaillian.
  50. THE SIXTH SENSE Written by M. Night Shyamalan
  51. BROADCAST NEWS Written by James L. Brooks
  52. THE LADY EVE Screenplay by Preston Sturges.
  53. ALL THE PRESIDENT’S MEN Screenplay by William Goldman.
  54. MANHATTAN Written by Woody Allen & Marshall Brickman
  55. APOCALYPSE NOW Written by John Milius and Francis Coppola.
  56. BACK TO THE FUTURE Written by Robert Zemeckis & Bob Gale
  57. CRIMES AND MISDEMEANORS Written by Woody Allen
  58. ORDINARY PEOPLE Screenplay by Alvin Sargent.
  59. IT HAPPENED ONE NIGHT Screenplay by Robert Riskin.
  60. L.A. CONFIDENTIAL Screenplay by Brian Helgeland & Curtis Hanson.
  61. THE SILENCE OF THE LAMBS Screenplay by Ted Tally.
  62. MOONSTRUCK Written by John Patrick Shanley
  63. JAWS Screenplay by Peter Benchley and Carl Gottlieb.
  64. TERMS OF ENDEARMENT Screenplay by James L. Brooks.
  65. SINGIN’ IN THE RAIN Screen Story and Screenplay by Betty Comden & Adolph Green.
  66. JERRY MAGUIRE Written by Cameron Crowe
  67. E.T. THE EXTRA-TERRESTRIAL Written by Melissa Mathison
  68. STAR WARS Written by George Lucas
  69. DOG DAY AFTERNOON Screenplay by Frank Pierson.
  70. THE AFRICAN QUEEN Screenplay by James Agee and John Huston.
  71. THE LION IN WINTER Screenplay by James Goldman.
  72. 72. THELMA & LOUISE Written by Callie Khouri
  73. AMADEUS Screenplay by Peter Shaffer.
  74. BEING JOHN MALKOVICH Written by Charlie Kaufman
  75. HIGH NOON Screenplay by Carl Foreman.
  76. RAGING BULL Screenplay by Paul Schrader and Mardik Martin.
  77. ADAPTATION Screenplay by Charlie Kaufman and Donald Kaufman.
  78. ROCKY Written by Sylvester Stallone
  79. THE PRODUCERS Written by Mel Brooks
  80. WITNESS Screenplay by Earl W. Wallace & William Kelley.
  81. BEING THERE Screenplay by Jerzy Kosinski.
  82. COOL HAND LUKE Screenplay by Donn Pearce and Frank Pierson.
  83. REAR WINDOW Screenplay by John Michael Hayes.
  84. THE PRINCESS BRIDE Screenplay by William Goldman. Based on his novel
  85. LA GRANDE ILLUSION Written by Jean Renoir and Charles Spaak
  86. HAROLD & MAUDE Written by Colin Higgins
  87. 8 1/2 Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rond.
  88. FIELD OF DREAMS Screenplay by Phil Alden Robinson.
  89. FORREST GUMP Screenplay by Eric Roth.
  90. SIDEWAYS Screenplay by Alexander Payne & Jim Taylor.
  91. THE VERDICT Screenplay by David Mamet.
  92. PSYCHO Screenplay by Joseph Stefano.
  93. DO THE RIGHT THING Written by Spike Lee
  94. PATTON Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North.
  95. HANNAH AND HER SISTERS Written by Woody Allen
  96. THE HUSTLER Screenplay by Sidney Carroll & Robert Rossen.
  97. THE SEARCHERS Screenplay by Frank S. Nugent.
  98. THE GRAPES OF WRATH Screenplay by Nunnally Johnson.
  99. THE WILD BUNCH Screenplay by Walon Green and Sam Peckinpah.
  100. MEMENTO Screenplay by Christopher Nolan.
  101. NOTORIOUS Written by Ben Hecht

If  you haven’t already committed to reading the Top 101 screenplays, now is the time to get started. You can visit simplyscripts.com or Go into the story  to access many of the above listed screenplays.

Shivawn Hill is a writer, wander, and visual storyteller at heart. She’s currently in production with her short documentary film, Lifting Crowns. She believes that one day soon she’ll form the ultimate group of storyteller who will travel the world to tell the stories of creative peculiar people. You can come hang with her on Instagram.


Building Your Screenwriting Muscle with Samantha Wilson 

Tell us who Sam is? Why screenwriting?

I’m a current script reader and former agency assistant. I’ve always been interested in the arts from a young age and that kind of morphed into screenwriting around college.

I started Any Possibility in January 2016 to explore how screenwriters were getting their first big break. It’s such a nonlinear path that I became really invested in discovering the different approaches. Because I had friends and acquaintances who were making their first giant career advancement in film and television, those interviews became great learning opportunities.

Any Possibility grew into a platform to talk and share about how the industry works. Because I’m still in the trenches, too. And it can be so frustrating, grueling, and challenging to figure it out on your own. I want people have access to information that I didn’t have when I first moved out to Los Angeles – things I wish were talked about more. Information is a great equalizer and tool to make smart, educated decisions about your writing career.

You took the leap after college and went to Hollywood, where you soon became an assistant. For those who aren’t clear on what an assistant is please clarify and what are the duties of an assistant. In addition, what was the most valuable lesson you learned during your 3 years as an assistant?

I had a really roundabout way of becoming an assistant. I interned after I graduated because I moved to Los Angeles without really knowing what to do. Going to school meant I knew how to use camera equipment and how to write, but it did very little in helping me figure out what to do once I graduated. I knew I wanted to write, but at no point had I been prepped on the real-world application of that. I wish I could say my experience is unique in that, but so many people have the same problem.

I feel like the resources that are available now weren’t around 5 or 6 years ago. In that respect, it’s a great time to be able to research and understand what you can do and what you need to be doing! For me, it was complete trial and error. I interned trying to get experience because a lot of entry-level jobs required it. I knew quickly that I really wanted to work in literary management, which was actually a bit of a problem because it was one of the hardest jobs to get. That led me to make a few beginner mistakes. I’ll explain…

Take any assistant job that you can get. An assistant job is basically working for an agent, producer, manager, or executive in Hollywood. You do administrative work, act as your bosses third arm, and multi-task like crazy. What it really becomes is an opportunity to learn firsthand how the industry works.

You’d be surprised how far understanding the etiquette, workflow, and language of the industry gets you. It was also an opportunity to network with other assistants. Maybe to put it into perspective, think of it as the assistants you meet now become executives in five years. The things about building up your early career and relationships is that none of it comes quickly. It takes years of establishing genuine relationships, helping others, asking for nothing, and working hard to show people what you can do. Time is a big factor. No one wants it to take so much time, but it does. We always hear the story of the overnight success and want that over route that takes a lot of persistence.

And really, being an assistant isn’t the only way to enter the industry, but it’s great start if you know no one and are choosing something to do on the side while you write.

How did you land the job of being an assistant? What was that process like?

It was unusually hard because I wasn’t flexible. I should have been, but I didn’t know any better. What I mean by that is, I really wanted to work in literary and that was the only interest I had. Because of that, it took me longer to find and interview for those jobs. Months. I turned down great opportunities that were at great companies because in my mind, I was like well I don’t want to be xyz, I want to be a writer.

If I would have just gotten any job, anywhere, I could have had a full year of assistant experience under my belt to finally get the job I wanted rather than holding out. After a certain point, I stopped holding out for what I wanted and took a job as a receptionist because A. I needed money to pay rent and B. I didn’t want to commit to a job that would keep me somewhere I didn’t want to be.

Again, I didn’t really understand the time factor. To me it was like, why would I take a job that I don’t even really want to do. There was so much hesitation on that point. So much. I think my point is that, it’s okay to take a job and learn the skill set and then plan for your transition. You will be required to stay at a desk for a year to a year and a half. In your early 20s, that may seem like FOREVER. It’s not. It’s what you do during that time that matters. You get in where you get in. Apply using Entertainment Careers. The UTA joblist. Word-of-mouth. Whatever is accessible. Then make that year about utilizing your position. Get networking drinks with all of your peers. Force yourself to write at night. Be great at your job. Because the assistant job is grueling and you can get lost really easily – you stop writing because you’re so tired after a 10-hour day of high pressure. It’s creatively unfulfilling. It can be so, so easy to lose your way, but you do it to make connections and gain a skill set that will be incredibly valuable throughout your career.

For a screenwriter who isn’t necessarily in Hollywood, what are five steps they can take to launch their screenwriting career in the right direction?

1. Number one would be to write. Writer’s seem to forget that. Don’t write one thing. Keep writing. I’ve seen people break in from out of state and they only had that one script, then they get their chance. They get agents, producers are interested. And then, guess what? They don’t have another script, so all this momentum has built around them, and they have nothing to follow it up with. Then your agents lose interest because they have nothing to sell. The industry forgets you and moves on. Some of those people have never recovered that immediate success. I’m not saying you shouldn’t perfect your script. Yes! Perfect everything. But keep writing new material too.

2. Another thing is contests. I read for contests. Competitions are a great way to get your foot in the door if you aren’t in Los Angeles because your script can speak for itself. Write something that really resonates universally, and it will do well. That really requires you to be the best at your craft. You can’t just be good. You have to be great.

3. Build up your network online. Talk to people. Interact with your favorite writers and showrunners on Twitter. Join the Reddit community. Find Facebook groups to connect to people. Don’t cross the stalker line, but build authentic interactions. Be real. Be yourself.

4. Make your scripts into short films, web series, and movies. Actually, become a creator. That has a lot of stock these days. Sometimes we can’t seem to get over the barrier of sucking. Your first short film might be a terrible piece of trash. That’s amazing! You made a short film. Get better. Keep getting better. I’ve seen crappy cartoonists, bad writers, and filmmakers who make real garbage their first go-around, but you know what? They don’t give up. You can usually see the seed of a good idea in what they are doing. And after a year or two, they get good. And then they get great. That’s why I love the Ira Glass speech on The Gap.

5. Be patient and persistent. Not complacent. Know that things can take time. If they don’t, then great! I love not having to wait. But a great portion of the people I know who write on TV shows and movies got their break in their 30s. Yes, their 30s. I know one major exception, who combined hard work with a mentorship from a showrunner right out of college. She’s built her career in TV and has sold shows and movies. Prepare for everything. Be prepared. Write.

It is suggested that screenwriters read scripts often why is this beneficial and what 3 scripts do you suggest we read?

Reading scripts subconsciously trains you in story structure, cadence, plot and character development. You start to understand the way a story works and how to push the rules. I suggest that you read three scripts in the tone and genre of what you’re working on right now. Pick one genre, or “brand.” Seriously anything. BUT don’t pick a script by an “auteur.” What I mean by that is that auteurs are not examples of standard scripting. Maybe you want to be an auteur or filmmaker. That’s perfectly fine. They often finance and make their own films rather than work inside the industry. There’s a difference. I would never advise anyone to read a Tarantino script and go, “well, he did it this way, so I can.” That’s probably not going to fly because it can be completely dependent on acting and directing, which a script on its own is not a sample of. It’s a writing sample, unless, again, you’re making it yourself (that always changes the rules).

What services do you offer screenwriters?

I offer a ton of free resources in my resource library on Any Possibility, like workbooks, checklists, prompts and more. I want to help people focus and treat themselves like their own business. You have to create a product, market it, sell yourself, and keep your own hours. It’s so much work!

I also recently launched a paid e-course called Crushing Competition Season to help people prep for contests using my insider knowledge as a script reader and experience sifting through the other side as a writer. In the future, I want to create more courses to focus on the beginning level steps of entering and even working in the industry.

What groups, or organization should a screenwriter be a part of?

Find your alumni network, JHRTS, Women in Film, Film Independent, etc… Also volunteer if you’re in Los Angeles. If you’re out of town, try a film festival or cool and reputable workshop. There is a lot out there.

What’s next for you?

Last year was the first time I put my writing out there; up until then, I was too terrified. I had a script make quarterfinals in three contests, and that gave me a little hope – a refuel maybe. Like, okay I can do this. And because I read so many scripts for work, I knew exactly why my screenplay advanced the way it did and how to move forward with my writing for next time. So, I’m working on new material and pushing forward.

Any Possibility helps motivate me, too. I love connecting with people and creating focus. So, I want to keep expanding the free and paid content I offer to help eliminate the struggle of starting out that a lot of people run into. It’s really hard to go after your dream. Most people give up. We’re afraid of failure. It’s so human. You’re not alone.

How do we keep in touch? 

Any Possibility 








We did it!

As co-founders of THE CREATIVE OUTSIDERS we have created something very special for you ladies that are aspiring filmmakers.


As an aspiring woman filmmaker this resource guide will empower you to take charge of your dreams and launch an exciting career in the world of film and TV.

It includes 68 informative and interactive pages of resources to get you started.

It includes:
An industry overview
Ideal first film projects
How to work with a crew for your first project
How to decide what’s best for you (film or TV)
Career Launch & Portfolio Building Worksheet
Best Gear To Have for Newbies
Crowdfunding Strategies
Indie Film Business Plan Template
Press Release Template
Contractor Confidentiality Agreement Template
Inspiring Quotes from Women Filmmakers

The filmmaking industry is ready for the rise of women and for us to take over.

Will you be one of them?

We sure hope so.

If you have any questions about how to get started in the filmmaking industry, we hope that our guide answers them for you. If you have additional questions, please feel free to email us: thecreativeoutsiders@gmail.com or Follow Us On Instagram: @thecreativeoutsiders

Grab your PDF copy TODAY for $7 (for a limited time)

HERE (via Paypal 🙂

Thank you for your support and keep us posted on your filmmaking success!


Shivawn Hill & CJ Childress