Filmmaking is a high-pressure, ever-evolving world, and Edgar Esteves is carving his path through it with a style that’s equal parts meticulous and collaborative. Known for his work with some of hip hop’s biggest stars—from weed superstars Wiz Khalifa to Lil Wayne—Esteves’s approach to creating music videos isn’t just about the finished product; it’s about building a community of creators and fostering mentorship for the next generation. His recent work on *Proud of Me* by Fridayy featuring Meek Mill and is a perfect example of this vision at play. But for Esteves, the challenges are always part of the journey. We sat down with him to discuss how he navigates those hurdles, his take on cannabis and creativity, and his plans for the future of filmmaking.
The Power of Shadou-ing: Giving Back to the Next Generation of Filmmakers
Esteves isn’t just about making great videos; he’s passionate about helping others find their way in the industry. "I've been having people shadow me for about four or five years now," he explains. "I wanted to build a platform where creators could come on set and learn, whether they were just starting out or needed a little guidance. We don’t tell anyone exactly what jobs we’re working on until the last minute, and the next thing you know, you could be shadowing me on a Meek Mill shoot in Philly."
The Shadou platform, created by Edgar Esteves, offers emerging creators the chance to learn directly from industry professionals by shadowing on real-world sets. For Esteves, shadowing is a game-changer. He recalls a pivotal moment early in his career when he saw Colin Tilly’s treatment on someone’s laptop. "At the time, I was making treatments on Microsoft Word, Times New Roman font—nothing fancy. But that moment made me realize how important the visual and aesthetic side of filmmaking is. It opened my eyes to what was possible."
Esteves is deeply aware of the gap in resources for young creators, especially for those who didn’t have access to formal education in filmmaking. "There are so many people out there who want to get into this industry but don’t have the support or knowledge. I didn’t have it when I was starting. If I can help change that for someone else, I will."
The Cannabis Connection: Creativity, Focus, and Flow
As we talk about Esteves’s process, he reflects on his medicinal cannabis use. "I use weed to help me sleep through long nights," he says with a chuckle. "I’ll be writing a treatment and hitting a wall, and then I’ll just smoke, get some sleep, wake up, and the ideas start flowing."
But it’s not just about the personal use—cannabis often enters into the larger creative process, especially when it comes to working with artists. Hip hop and cannabis have a longstanding relationship, and for Esteves, it’s a natural part of his workflow. "I have no problem with consumption on set, as long as it doesn’t affect the performance. If we’re wrapping up a shoot, like the Fridayy and Meek Mill video, I’ll grab a joint and take a hit, just to unwind. It’s all about balance—you gotta stay sharp when you’re working, but also, sometimes a little weed is all you need to relax once the job’s done."
Navigating Last-Minute Chaos: A Day in the Life of a Director
Shooting a music video is always full of unexpected moments, and for Esteves, adaptability is key. His recent video for *Proud of Me* saw a flurry of last-minute changes that required quick thinking and flexibility. "The night before the shoot, we got word from Meek Mill’s team that he wanted to shoot at a few different locations, including the place where his father had passed away," Esteves recalls. "Then Fridayy wanted to include his grandma’s house. These things came up at 10 PM, the night before we were supposed to shoot. But instead of saying no, I just called the label and said, 'Look, they’ve got these requests, let’s figure out a way to make it work.'"
The challenge wasn’t just about logistics; it was about understanding that these moments were deeply personal for the artists. "This isn’t just my video—it’s their video too. I want to make sure we represent them in the right way," Esteves says. "So, we pivoted and made it happen. It’s about being flexible and finding solutions on the fly."
Looking Ahead: The Future
Esteves’s ambition isn’t just limited to music videos. As he moves forward, he has his sights set on feature films. "This year, I’m focused on getting a feature out in 2025," he says with determination. "I’ve got three longform projects in the works—one’s a documentary on a music artist, another’s a scripted film about substance abuse and fame, and the third one is about a group of young boys in Nigeria making Hollywood-style movies on their smartphones to save the world. It’s an exciting time, and I’m looking forward to seeing how everything shapes up."
For Esteves, the key to success in the ever-changing world of filmmaking is ownership. "You’ve got to be a creative entrepreneur," he asserts. "It’s not just about being the director; it’s about owning the production company, creating your own lane, and staying true to your vision."
As he prepares for the next chapter of his career, Esteves’s message is clear: never stop pushing boundaries, and always make room for the next generation of creators. The future is his, and it’s wide open.
