First Time Go

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: GHOST TRAILDirector: Jonathan MilletWriters: Jonathan Millet; Florence Rochat; Sara WiklerCast: Adam Bessa; Tawfeek Barhom; Julia Franz RichterSYNOPSISHamid is a member of a secret organisation pursuing Syrian regime's fugitive leaders in Europe. He ends up in Strasbourg while searching for his former torturer. What happens when they finally meet?Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

If your documentary films were entered into the Criterion Collection, you barely need an introduction, but let me give one to my guest, filmmaker Brett Story, by saying this: her films expand what's possible through visual styling and extensive preparation work. What I mean by that is if you take a look at her work, the story that she is telling can only be said through film. So Brett gives us both something to appreciate and something to strive for. What a thrill it was to talk with her for the podcast.In this episode, Brett and I discuss:the future documentary on the 2025 NYC Mayoral race (not by her, unfortunately);how she came upon her unique style of documentary filmmaking;does she watch a lot of documentaries?her feelings towards her films entering the Criterion Collection and what that means about her art;whether the honors has made pitching projects easier;what about her work is particularly Canadian?how does she start her documentaries and her process for making her films;the visual attractiveness of her documentaries;the festival and release strategy for her films;how can someone with no name recognition make it into a big festival;her film, UNION, and the tradeoffs doc filmmakers have to make to get their films made;what's next for her (such an incredible next project, combining art + film, called PRODUCTION OF THE WORLD;Brett's Indie Film Highlights: THE IMAGE YOU MISSED (2018) dir. by Dónal Foreman; Deborah Stratman; Jem CohenLinks:The Criterion Channel - Brett StorySupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Happy Veterans Day! For this special episode, I talk with filmmaker Geoff Ryan about his 2012 film, FRAY. For me, FRAY is one of the more authentic "return from war" stories in a usually bad genre of overwrought films. I wanted to find out more about the making of the film, how the lead actor was cast, and what made Geoff the best person -- a non-veteran -- to tell this story.I'm looking to support more veteran actors, producers, directors...filmmakers. And we need more filmmakers like Geoff telling these kinds of deeply researched stories.In this episode, Geoff and I talk about:how he got started in filmmaking;what led him to make FRAY;the intense research from friends and veterans before he made his first feature;how he would describe the film, FRAY;the amazing subtlety in the film -- he doesn't show the characters as completely broken, as so many other veterans' films do;what the lead actor, Bryan Kaplan, brought to the role;whether his film is more sensitive and accurate to the veteran experience because he hasn't served and will concentrate more on getting the details right;has he watched the film lately and what would he change about it now;what's he working on now -- how he's getting back into short films;his advice for students graduating film school;the importance (or not) of having social media in indie filmmaking.Geoff's Indie Film Highlight: OVATION (2025) dir. by Noam Kroll; Al ProfitMemorable Quotes:"A few of them really let me just follow them. I stayed overnight under a bridge with one guy, walking through the woods where one of them would sleep at night.""Another big motivator of it was so many of the vets that I did know and got to meet during that time would just trash talk the way that movies portrayed them." "I jokingly refer to it as a 94 minute montage of misery.""One of the worst pieces of advice...and it's so ubiquitous, it's annoying, is write what you know, which isn't wrong, but it's mistaken all the time." "There's no music throughout the entire film other than location music.""I honestly don't know how a lot of these things get funded other than like venture capital and money laundering. And unfortunately, I don't know any money launderers or VC investors.""I'm fortunate FRAY still gets at least 10,000 views a month. Unfortunately, I get literally 2 cents every time somebody watches it.""Can you cut out the the cursing,the drugs, the sex, and the violence? I'm like, that's the whole movie.""If you're in USC, you're gonna have the connections. They're gonna place you in the industry.""Trust your voice. Don't try to do what someone else is doing. Don't try to do what you think is popular."Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE HOTTEST AUGUST (2019)Director: Brett StorySYNOPSISA complex portrait of a city and its inhabitants dealing with climate change, disguised as a portrait of collective anxiety.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

In so many films like WALUD (2025), which depicts the life of an ISIS fighter and his relationship with his two wives, the women are given very little agency. They have things happen to them and deal with the consequences rather than decide their own story. WALUD isn't that type of film.It's the work of co-directors Louise Zenker and Daood Alabdulaa, film students who made a visually stunning and culturally relevant film about unexplored lives. If there's justice in the world, we'll see it nominated for an Academy Award. Streaming soon in Germany, the rest of us will have to wait to watch, but trust me, it's worth it. I'm looking forward to what Louise and Daood work on next.In this episode, we discuss:what filmmaking is like in Syria now (WALUD was set there but filmed in Tunisia);how they got started in filmmaking;the challenges and benefits from co-directing;how they developed the story of WALUD;how they want the audience to feel while watching the film;the dilemma that the women depicted in the film wouldn't be able to watch the film in Syria;what stories are out there that need to be told from a Syrian perspective -- more comedy!;the role of new film festivals in the Middle East;documentary v. narrative filmmaking and how they choose what to do;what they would have differently for the film;when you could expect to watch WALUD (Germany -- you're in luck!);its chances at the Oscars and the unique qualities of the film;what's next for them and when you can expect to watch WALUD.Louise's Indie Film Highlight: SHAHID (2024) dir. by Narges KalhorDaood's Indie Film Highlight: WHO DO I BELONG TO (2024) dir. by Meryam JoobeurMemorable Quotes:"There was this whole topic about fertility and having kids and what does it mean to be a woman in a patriarchal society?""These women have agency and they are strong characters that stand tall.""A lot of the dramatic stories are more of a cry for visibility as well to just try and get the world to look at what is happening because the world needs to look at what is happening."Links:Follow WALUD On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

What's it like being accepted into Mexican film school and later direct a film that the country chooses to represent its filmmaking at the Academy Awards? My guest, Pierre Saint-Martin, can speak to that as well as a love for sound design and film noir cinematography.The podcast begins its highlighting of international films nominated for the 98th Academy Awards with WE SHALL NOT BE MOVED (2024), Mexico's selection. The film was directed by an artist who is by turns thoughtful and proud of his work.It can be seen in November at the Portland Latin American Film Festival, among other venues. Follow Pierre on Instagram to keep up with where the film will be screening.The synopsis: "Socorro is a headstrong lawyer obsessed with finding the soldier who killed her brother during the 1968 student massacre in Tlatelolco, Mexico City. This need for justice masks an old guilt that has alienated her sister Esperanza and her son Jorge."In this episode, Pierre and I discuss:the story behind WE SHALL NOT BE MOVED;the stunning story of how he got started in filmmaking;what film school is like in Mexico and what he had to do to get in;his work between film school and WE SHALL NOT BE MOVED;why the film should be seen in theaters, especially because of the sound;what the film's theatrical run was like in Mexico City;Mexico's choice of his film to represent the country for the 2026 Oscars and what he feels about the marketing campaign;what's next for him.Pierre's Indie Film Highlight: SUJO (2024) dir. by Astrid Rondero; Fernanda Valadez; A BRIGHT FUTURE (2025) dir. by Lucía GaribaldiLinks:Follow Pierre On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: JIMMY AND CAROLYN (2022)Director: James Andrew WalshWriter: James Andrew WalshCast: Alberto Bonilla; Mark H Dold; Gregory HarrisonSYNOPSISAn emotional crisis threatens to destroy James and William's 20-year relationship.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Is there a better titled film in the history of the medium than DID YOU REMEMBER THE CAT (2025)? I'd argue no. It gives you an idea of what it's about -- remembering a cat. The title suggests comedy (it's a mix of comedy, drama, and horror). And it's something you'll never forget as a film title. Perfection.That's the kind of thought process my guest, filmmaker Daniel Foster, has put into all of his films, and he has such fantastic advice on filmmaking, festivals, crowdfunding, making short films, and more.Happy Halloween. I can't think of a better person and film to spend it with than Daniel and that awesomely titled film, now streaming on Alter's YouTube channel.In this episode, Daniel and I discuss:do we see the cat in DID YOU REMEMBER THE CAT? YES!;how he got started in filmmaking, including film school at Temple University;are filmmaking labs a good alternative to film school?;what constitutes a bad film?what he's learned from each of the films he's made;how did they come up with the beyond brilliant title: DID YOU REMEMBER THE CAT?horror's role as the ultimate big-tent genre;where he got his encyclopedic knowledge of indie films;how accurate his crowdfunding campaign was and what lessons he took away for it;why he was successful on his first day of crowdfunding;why the film was released on Alter and during spooky season;what's next for him;how he comes up with titles and his critiques for short films.Daniel's Indie Film Highlight: feathers, not wings, currently crowdfunding on Kickstarter.Memorable Quotes:"Of course watching movies is the best way to learn, but specifically to watch bad movies. To learn and then analyze like, why is this bad?" "So it's always lure people in with comedy, keep them paying attention with the horror, and then hit them with the message whether it's a gut punch or a little heartfelt like we were going for with, DID YOU REMEMBER THE CAT?""I'm a fan of statement titles. I wanted it to be something that somebody would say in the theater.""My goal and my co-writers goal to make this a film that you would turn on every Halloween and have a fun time with, we wanted it to be a crowd pleaser."About reading the reviews: "I have a incredibly supportive fiance, so sometimes when they get to me, she turns on a spooky movie and makes us some chai tea and we just relax. But no, for the most part, I love like reading the reviews because I have to grow. I have to get better. Some of the critiques that I've gotten have been super helpful in what I'm hoping to do next.""I definitely think if you are able to have your short be between like 10 to 12 minutes is the preferred.""So I think for other shorts, if there's something else like it, there's comps that you can have and that's fine, but when the comps are so similar to what you're trying to do and there isn't anything, a new angle in it, I always think just go back to the drawing board."Links:Watch DID YOU REMEMBER THE CAT?Follow Daniel On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Occasionally, I'll watch a film so stunning -- visually, musically -- and so important, in terms of cultural relevancy and the issues that it raises, I'll know within a few minutes that I'd love for the director to be on the podcast. It's a blessing that my guest today, filmmaker Contessa Gayles, is here to talk about her journey from CNN to making groundbreaking documentaries.It's not to say that the topics are easy. Making a documentary visual album about an incarcerated musician is an unbelievably daunting task. But Contessa is more than up for it. Go watch SONGS FROM THE HOLE (2024), now streaming on Netflix, and come back and hear my conversation with Contessa Gayles.In this episode, Contessa and I discuss:the artistry of her filmmaking of SONGS FROM THE HOLE;how she got started in documentary;whether you need to pick up the skillsets of writing, editing, directing, producing -- the whole toolbox -- to be a successful documentary filmmaker;which skillset she feels most drawn and the importance of editing in documentary;her film, FOUNDER GIRLS (2023) -- an ode to girlhood -- at a historically Black summer camp and how it resonates today;her timeline of releasing several films all at once last year, including THE DEBUTANTES (2024) and SONGS FROM THE HOLE;why news organizations trust her work;what she wants people to feel when watching SONGS FROM THE HOLE and how does she want them to feel afterwards;how the film flips the narrative of how prisoners are viewed and whether that was ever an issue for backers of the film;how was this film made -- the "creative solutions" to get this film made;how she successfully balanced the impact of the crime as part of the film;her recommendation for people just starting out in documentary;do we have to wait till 2030 for this incredible filmmaker's next project?Contessa's Indie Film Highlights: AXEL (2025) dir. by Stefani Saintonge; THE IN BETWEEN (2024) dir. by Robie FloresMemorable Quotes:"We were really trying with this film to push the boundaries in terms of form and to really create something that folks hadn't experienced before. Not just for the sake of it, but because it felt like that was really the only way to tell this story and do both the story and the music justice.""There was really an expectation of...it used to be called the Predator, but the producer, shooter, editor where you were really like one man banding," "Our stories are focused on our traumas and our struggles and the stories that are more centered around our joy and our freedom are less prioritized.""I definitely don't go by the book.""I hope that folks approaching the film are open to seeing something and experiencing something that they haven't before.""Not wanting the project to stall out, to lose momentum or to just not happen, we had to come up with some creative solutions for how else we could tell the story outside of the kind of more obvious way of doing it.""How we could possibly interweave 10 music video treatments that are also holding the narrative of the film. Not just like random music videos, but like, we need to build a story through that.""I'm not super concerned with being prolific so much as I'm concerned with being impactful."Links:Follow Contessa On InstagramWatch SONGS FROM THE HOLE On NetflixSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE PROBLEM WITH PEOPLE (2023)Director: Chris CottamWriter: Wally Marzano-LesnevichCast: Paul Reiser; Colm Meaney; Jane LevySYNOPSISThings don't go as planned when two distant cousins -- one from New York City, the other from Ireland -- come together to finally put an end to a generations-long family feud.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I wouldn't be surprised if people thought this was a director-only podcast; it's usually who I host. My guest today, Rachel Noll James, has directed films, of course, but she didn't direct her last one, INHERITANCE (2024), which is the subject of a lot of discussion in this episode. What I'm really getting at is finding guests who make films happen, whose force of personality in a variety of different disciplines — acting, producing, writing, directing — brought the images at your theater or on your screen to life. Rachel is doing all those things, for her own projects, with the production company she co-founded, and also grants for early career female filmmakers. What a dynamo and the perfect podcast guest. I'm so thrilled to talk acting, writing — filmmaking — with Rachel Noll James. INHERITANCE (2024): “Estranged sisters Lucy and Paige reunite to bury their father, becoming entangled in the complicated web of their past as they realize that they have inherited more from their father than just money.”In this episode, Rachel and I discuss: How she got started in filmmaking as an actor and how she wasn't good at waiting around; The art and science of acting — how much is taught and how much is naturally-given talent;The roles of “filmmaker, actor, entrepreneur” and how they are intertwined for indie filmmakers;How she produced and wrote her first film, DON'T PASS ME BY (), but didn't direct it — was that challenging?The process of directing yourself and what means as both an actor and director;Writing and whether you write for your own role and the challenges of switching roles as an actor;What she's learned as an actor;How her production company, Emergence Films, whose goal is to “shift the mindset around the way women conceptualize, make, distribute, and market independent media” influences her work;If she feels like it's getting better for female filmmakers;How she wants someone to feel when they watch INHERITANCE;Why there aren't more films like this;The incredibly deeper meaning behind a plot point that stands out in the film (no spoilers but you'll know it when you see it);If she's a proponent of reading her reviews;How Emergence Films is creating a more direct connection with their audience;What's next for her and her company.Her thoughts on film school and the short v. feature debate.Rachel's Indie Film Highlight: ADULT CHILDREN (2025) dir. by Rich NeweyMemorable Quotes:“ I learned very quickly that it requires a lot of waiting around for other people to give you opportunities, which I was not very good at doing.”“I think it requires a tremendous amount of access to your own emotional body, which a lot of people don't have.”“ I spent seven years working at a marketing company which is something I never planned to do. And at the time I was like, ah, stupid day job. I don't wanna be doing this. But I'm so grateful I did because there's just certain life skills and like business skills that are so helpful.”“ I think there's a lot of self-consciousness to being an actor on a set, especially when you're starting out.”“Something that was really important to both Sienna and I, my co-founder, is having both come up through LA and through Hollywood as women on predominantly male sets where, again, no shade to male sets, and there's a lot of wonderful men doing amazing films, and it's just, it's a different energy and I think it can feel very unsafe in a lot of ways, to ask questions, to learn, to not feel objectified, to not feel like you're one woman in a sea of all men.”“I think it's because Hollywood still has this mindset that female content is niche or doesn't sell, which is proven more and more is not true.”“ Hey, mom and dad, how about instead of a thousand dollars on film school, you give me that same hundred thousand dollars and I'm gonna go make up my first feature.” Links:Follow Rachel On InstagramFollow Emergence Films On InstagramFollow Emergence Films On YouTubeSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Some documentaries are too urgent to wait for normal distribution. BIG ROCK BURNING (2025), David Goldblum's directorial debut, certainly qualifies. The film covers the aftermath of the California wildfires this year in Big Rock from a man who lost his home in the fires.The film is still embarking on a festival run but because of the immediacy of the story, it is now available for streaming on Vimeo. Alongside this film, David has tackled some of the most pressing topics facing our country today, and he's been able to do it by making the title executive producer into something more than just a famous wallet. How did he do all this, especially after losing his home? What a story writer, director, and producer David Goldblum has to tell. In this episode, David and I discuss:How bittersweet it must be to talk about a film that is at once your directorial debut and also about people losing their homes, including my guest;The festivals' reaction to releasing the film for streaming during its festival run;How he got started in filmmaking (be nice to your college roommate);His resume — MFA from UCLA, Telluride Lab Fellow — was it one of these that got him where he is or just the culmination?How common the experience of somebody like Paula Wagner looking out for the people who work for her in Hollywood;The double edge sword of having well-known executive producers and how he uses the role to his advantage;BIG ROCK BURNING as his directorial debut — when did he know the subject was a film? And he'd direct it?The political tone of the film and what tone he wanted to set for such a viscerally important topic;Why a 30 minute run time?The decision to release it for on-demand now rather than waiting for formal distribution;Pushing the boundaries for documentaries while also finding funding;When he chooses to do a doc v. narrative films;What job he prefers — writing, producing, directing?What's next for the film and for David — and what could have been with Village Roadshow.David's Indie Film Highlight: ALL THE EMPTY ROOMS (2025) dir. by Joshua SeftelMemorable Quotes:“I think it's all kind of learning how to leverage, so you leverage the thing that you have to get the next thing.”“When you look at the credits of a film, I think executive producer is the one that you never know what they really did.” “I had to sneak my camera guys in my trunk every day.”“Everbody was pointing fingers and I wanted to show that everybody's to blame in this.”“ I've seen enough stories that people make long form documentaries about a very important issue. And then by the time it comes out, it's five years later and it's like the next big school shooting has happened or the next big whatever, like we've just become so desensitized.“I try to look at who cares about these issues that I'm exploring, whether it's incarceration or the sex industry or fires or whatever And then I look for those types of funders so the funders are really aligned with the topic already.”“I love producing writing because originally I'm a writer; I think more than anything I'm actually a writer.” “So they gave me a three movie producer deal, but I didn't get to choose my movies.”Links:Follow David On InstagramWatch BIG ROCK BURNING NowSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: FRAY (2012)Director: Geoff RyanWriter: Geoff RyanCast: Bryan Kaplan; Marisa Costa; Catherine JohnsonSYNOPSISJust back from combat, a young Marine veteran faces a new battle to find purpose in the mundane existence of civilian life while struggling through a shattered economy while burdened by the physical and emotional scars of war.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

It takes a brilliant insight to get a question added to the podcast, but my guest, South African filmmaker Tristan Holmes, achieved that. Do you actually like your movie? It stunned me when he said he wonders if his debut feature was better off as an idea and we got to the real truth of it in the podcast.What exists on screen of THE FRAGILE KING (2023) is award-winning — it tells the story of a 15 year old sent to live with his grandfather who he doesn't know after his mom dies — but what Tristan knows is what was left out and the brilliance that wasn't made. And he, not the audience, is left with that feeling. Wow. Just wow. I tried to just get out of his way on so many topics — AI, film school, mentorship, and more — that I think you'll really love his takes.And if you hear me ask the Tristan Holmes question, well, here's where it came from. In this episode, Tristan and I talk about:How he's the designated bank commercial guy — watch this ad and you'll believe it;How he got his start in filmmaking and the long journey of THE FRAGILE KING;Going into film school thinking he'd do one thing and come out doing something else — is that the point of film school?The importance of mentorship and the surprising places you can find them;Coming back to THE FRAGILE KING ten years after losing the rights to it;Why he still isn't sure whether he should have made his first feature;What does it mean to have a South African film?How you should approach watching THE FRAGILE KING;The unique ending, how he wasn't able to shoot what he wanted, and the new Tristan Holmes question;Whether his advertising background helped him;The wild story of casting for the film;What's next for him.Tristan's Indie Film/filmmaker Highlights: LEVIATHAN (2014) dir. by Andrey Zvyagintsez; LOVELESS (2017) dir. by Andrey Zvyagintsez; Abbas Kiarostami; Nuri Bilge Ceylan; THE GIRL WITH THE NEEDLE (2024) dir. by Magnus Von Horn; Joachim Trier; Aki Kaurismäki; SONGS FROM THE SECOND FLOOR (2000) dir. by Roy Andersson; Abderrahmane SissakoMemorable Quotes:“[THE FRAGILE KING] was the only one that actually made it through the gauntlet of finance, which is what film is now more than ever.”“You realize that through those stories that actually they've had the ultimate apprenticeship, which is the mentors, the parents.”“It's the challenge of today because now with. Instagram, social media and ai. You get this immediate feedback, but it's not the feed, the quiet feedback of experience.” “AI is never going to mentor you.”“Even now that it is made and it is out there and it's done well, there's still a part of me that wonders whether it would've been better if it remained as an idea.” “It seems like an audacious thing to try and birth a film into existence.”“You have to be making something all time because that moment where you are confronted with the weight of your limitation, your lack of resources, the unavailability of time.”“If your idea is always remaining theoretical or never getting to that point of confronting reality, having the audacity to give them birth into something real and tangible, then the artist will never cultivate. The artist will actually sit and instead return to the comfort of being an academic or being a critic or being a theorist.”“There's a feeling of outsideness in your own country that is unresolvable.” “We all know that campaigns and making films, it's a money business. This is a producer first medium. Directors, we are not gonna arrive on set without our script and then it's gonna get made.”“The South African government, as much as they put forward and do support film, I don't think they do enough once the film has been made.”“For me, the process of discovery always happens with the actors.”Links:Follow Tristan On InstagramTristan's Website (Watch the "Hard Work" ad -- trust me)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

If you could highlight one person standing at the intersection of journalism and filmmaking, it would be my guest today, Diana Schemo. 11 years ago, she founded the Double Exposure Film Festival as a way to reach people, alongside journalism, and it's been extraordinarily successful, in both the quality of films and its importance in the larger filmmaking and journalistic communities.This year's edition takes place October 30th - November 2nd, in Washington, DC, and it not only includes films but fantastic panels and a matchmaking platform for you to find funding and for funders to find you. Whether you're a documentary filmmaker or you just care about making the world a little brighter place, Diana is here today endeavoring to do both. In this episode, Diana and I talk about:What's changed in the 11th edition of the Double Exposure Film Festival since its start;How she started the film festival and why it is so vital for today's world;What the process looks like each year for the festival in terms of accepting submissions;What kind of films *don't* get selected;The difference between journalism and documentary filmmaking;Her thoughts on hybrid documentaries and new forms of docs;The saga of RETROGRADE (you can read more about it in the linked Washington Post article);How to balance corporate interests with the plight of working documentary filmmakers;How she feels about Washington, DC as the home for this festival;The amazing things the film festival offers beyond screeningsDiana's Indie Film/Show Highlight: THE SIX BILLION DOLLAR MAN (2025) dir. by Eugene Jarecki; TRADE SECRET (2025) dir. by Abraham Joffe; RIVER (2015)Memorable Quotes:“The universe in which these films operate has changed tremendously because at that time it was considered like a golden age for documentaries.”“You are allowed to eavesdrop.”I don't know what madness seized me to think that I would ever make money for the organization doing film festivals. Totally not the case. Do not do this at home, kids. It'll not get you there.”“I saw it as like a great way to build awareness of investigative journalism as a driver of culture.”“My feeling at that time was we think that we stand on such a solid foundation that we have the First Amendment, that we have libel laws, we have this, we have that. We don't. It's as only as strong as people who support it and believe in it.”“And if they're not reading our 5,000 word takeouts on deficiencies in hospital inspections, maybe they'll watch a film about it.” “We used to just do by invitation only when we were starting out because that was the only way it was manageable. But I wanted to open it up because I thought we wanna see if there's new work.” "Filmmaking is very different from journalism.”“No, I actually like weird. I like people who are creative, who are pushing the envelope.”“We actually check out who's funded the pieces.”“ Sometimes with questions [regarding] representation, oh, is somebody on the film team actually from the community that you're telling their story?”Links:Double Exposure Film FestivalFollow Double Exposure Film Festival On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: INHERITANCE (2024).Director: Emily Moss WilsonWriter: Rachel Noll James; Austin Highsmith GarcesCast: Austin Highsmith Garces; Rachel Noll James; Wes BrownSYNOPSISEstranged sisters Lucy and Paige reunite to bury their father, becoming entangled in the complicated web of their past as they realize that they have inherited more from their father than just money.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest, writer, director, and actor Guillaume Campanacci made a film, THE SILENT SINNER (2025), for $2000 and then released it at his favorite film festival, the Oldenburg Film Festival. That topic alone would make for a great podcast. But then add in his rich sense of humor and ability to critique everything -- including himself -- and you've got an all-time episode.It'll help if you read this Hollywood Reporter article before listening. In this episode, Guillaume and I talk about:What does he mean when he says he wants to “fuck with the audience”;How he got started in filmmaking;If most actors want to direct;How he honored French New Wave in his debut feature, WHENEVER I'M ALONE WITH YOU (2023);Why he thinks Oldenburg is the best film festival in the world and what can other film festivals take away from it;The state of independent filmmaking in France;What's next for him;What to expect when you watch THE SILENT SINNER;He starred in the film with his real-life partner. What is his advice on doing that?;Distributing such a unique film — he loves Filmhub;His advice for filmmakers just starting out. Guillaume's Indie Film Highlights: SUMMER HIT MACHINE (2025) dir. by Jérôme Vandewattyne; HARAKIRI, I MISS YOU (2025) dir. by Alejandro Castro AriasMemorable Quotes:“It was very selfish to make this one because I made it for nothing. So I could do whatever I want.”“I started as a French man.”“I think Sundance used to be like that back in the day, and now it's this big machine like an independent film is a $25 million film with Ben Affleck. No, it's not independent film.”“If you're a festival and the only thing you do is take films from other festivals, are you really a festival?”“I don't think there is really independent filmmaking in France.”“We spoke about French New Wave before and it's gone because these films would not get made today.”“Right now, I'm going to be writing the miniseries, and I love it. It's just me with my notepad and the universe of possibilities that's around me.”Links:Follow Guillaume On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

At the end of each episode, I ask my guest if they'd like to highlight someone else, given how hard indie filmmaking is. It's called the indie film highlight. And of course they do. My guest today, Ömer Sami, is the only person who was nominated on two separate occasions and that speaks to both how well respected he is amongst his peers but how groundbreaking his filmmaking is. In this conversation, I get to find out why that is, and I think it's partially due to his interest in psychology. His background gives him the skillset to better understand the human condition and then portray it on film. Or maybe he's just a fantastic guy who supports his fellow filmmakers. Why can't it be both? In this episode, Ömer and I discuss:How does he feel about the respect he's garnered amongst his peers;His unique educational background — he went to LA to study psychology and Denmark for film school;How to become a filmmaker in Denmark (important note: neither of us are providing immigration advice!);What made him decide to head into documentary?His film, ETERNAL FATHER (2023), and how he views the burgeoning “don't die” movement;How he built trust to be able to film such a personal documentary;Why is he working on a feature now and the role of short docs vs. short narratives;What's next for him — a feature length doc on the “Indiana Jones of Scotland”;What it's like taking short films to festivals;Festivals and filmmaking in Denmark. Ömer 's Indie Film Highlight: BALOMANIA (2024) dir. by Sissel Dargis MorellMemorable Quotes:“The question that I was always interested in was what it's like to be someone in a specific situation. I studied psychology because I was interested in consciousness of what it's like to be another being. And then I found out that film was actually a much better way of conveying that emotionally.”“Generally I love working with kids because they have an unfiltered, immediate way of seeing the world.”“In the case of the kids, my experience is that they have to get bored of it. And when the novelty wears off, that's when the interesting things start happening. And in the case of adults, I think a lot of documentary is about performance, how intentional that is.”“Short documentaries are often tied to news outlets, so people are used to consuming shorter form content. And I'm not a snob at all about length. I think it's ridiculous this idea that the feature is a kind of holy grail of filmmaking.”“I think often you leave feeling that film could be shorter. It's very rare that it could have been longer.”“The shorts that work best for me are the ones that embrace the limits and the constraints of this sort form instead of trying to be a mini feature.”“The curation is just really important in terms of what is the emotional journey that you go on. [Film festivals] are like having a birthday party and a funeral in the same room.”Links:Follow Ömer On InstagramWatch ETERNAL FATHER NowÖmer 's VimeoSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: BLACKBIRD (2020).Director: Roger MichellWriter: Christian TorpeCast: Sam Neill; Susan Sarandon; Anson BoonSYNOPSISA terminally ill mother arranges to bring her family together one last time before she dies. A remake of the 2014 Danish film 'Silent Heart'.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

You expect a first feature to show its stripes a bit. And be a little bit excusable. As in, well, this is my guest, Zoe Eisenberg's first feature, so give her a little credit for just getting it done. Zoe said hell no — let's just jump to fantastic filmmaking. The best way I'd describe CHAPERONE (2024) is a slow burn that builds into a bonfire. The film's logline: “Alienated by friends and family for her lack of ambition, 29 year old Misha finds a dangerous acceptance in a bright 18 year old athlete who mistakes her for a fellow student.”And the ending will shock you. This is an assured debut for a new talent. In this conversation, Zoe and I talk about:All her various art forms and what she considers herself — filmmaker, writer, producer?;How she got involved in filmmaking;What constitutes a “bad” film — is it the writing?;How did CHAPERONE come about and what does she want people to think about when they watch it;Her insane casting story of just sliding into the lead's DMs — and making it work through an insane level of preparation;What it was like making a feature film in Hawaii and its protective nature;Whether she'd do anything different in the rollout of the film since Slamdance 2024;The ending — it will shock you (no spoilers);What's next for her.Zoe's Indie Filmmaker Highlight: Alika TenganMemorable Quotes:“I got into filmmaking because I fell in love with a filmmaker.”“Sometimes I'll think they had to take a lot of notes. CHAPERONE is a completely independent film…very scrappy and that posed a ton of challenges.”“I want [viewers] to trust me because the first 15 minutes, the first 20 minutes can even feel like a cheesy rom-com, which is intentional because then we go somewhere else.”“Hawaii's relationship with the world has been so extractive in the last 200 years.”“Once MAY DECEMBER (2023) came out, we were like, okay, we're Hawaii's MAY DECEMBER or Hawaii's BABYGIRL (2024).”“Without giving anything away, the film is a tragedy.”Links:Watch CHAPERONE Now Follow Zoe On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest today, Peter Callahan, made such a fun film called OUT AND ABOUT (2022) that explores the life of a middle age suburban white guy walking around his neighborhood. That's the film. I watched half of it before going out on my birthday a few weeks ago, and came home, buzzed, ready to watch more of a guy walking around filmmaking. And through meeting his neighbors and other characters, we get a deeper understanding of his life. And today, we do that with the director Peter Callahan. His personal story is crazy — dropping out of high school to winning awards at the SOHO International Film Festival — and I'm so glad he's here to share his perspective on indie filmmaking. In this episode, Peter and I discuss:How OUT AND ABOUT is such a great concept — it's just a guy walking around while you hear his inner monologue!;His crazy entry into filmmaking — from dropping out of high school to getting a Master's degree at Columbia University;The stories behind the films he made before OUT AND ABOUT, including trips to Sundance;Why he decided to act in his film;Whether the 10,000 hours concept popularized by Malcom Gladwell (it takes 10,000 hours to be proficient at a certain task) is true for screenwriting;The logistics of a film like OUT AND ABOUT (no, you can't actually make that walk) and whether there was reluctance for such a unique topic;If a middle age white guy film hurt him at festivals and amongst viewers;What's next for Peter.Peter's Indie Film Highlights: AMITY (2012) dir. By Alejandro Adams; FRANCES FERGUSON (2019) dir. By Bob ByingtonLinks:Follow Peter On InstagramOUT AND ABOUT Film's WebsiteChristian Kamaal's Episode Of The PodcastSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE FRAGILE KING (2022).Director: Cédric KlapischWriters: Cédric Klapisch; Santiago Amigorena; Jean-Marc RoulotCast: Pio Marmaï; Ana Girardot; François CivilSYNOPSISAfter a ten year absence, Jean returns to his hometown when his father falls ill. Reuniting with his sister Juliette and his brother Jérémie, they have to rebuild their relationship and trust as a family again.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

In the atmosphere we live in in the United States, putting up a title card for your film's first shot that says "in solidarity with Planned Parenthood" and then screening it in red states is brave. That's just the reality. But when you hear from my guest, Lauren Melinda, about her film BEFORE YOU (2025), she tells you this was not her intent. She was not trying to make a political film or send a message on the issue of abortion. In some ways, that would be the easier thing to do...pick a side.Instead, Lauren created a deeply personal film that gets at emotion and unseen feelings better than anything I've seen before. She does it through transition scenes that shows a person in flux and sometimes in despair. Film is a visual medium, and too often directors don't use it to tell an emotional story.The logline is "a woman navigates the echoes of a life-changing loss" but it's so much more than that. It's the story of an amazingly creative filmmaker grappling with her art, using all the tools she's accumulated in photography and artistic expression, and I'm so glad to have director Lauren Melinda here to talk about her career and her beautiful film, BEFORE YOU.In this episode, Lauren and I discuss: How she got started and the big influence of her photography background;If her executive producing has allowed her a more precise vision for her filmmaking;The role of her production company, Simbelle Productions, and why it's a nonprofit;Why she focuses on narratives rather than documentaries;How she feels about our film festival system for distribution;What audiences should expect before they watch BEFORE YOU;The amazing transitions in the film and how to get at mental struggles by showing (not telling);How the film's first scene is a title card that announces it is “in solidarity with Planned Parenthood” — what has the reaction to that been like?Why she was willing to push boundaries that we don't always see from filmmakers;What's next for her and Simbelle Productions.Lauren's Indie Film Highlights: BLUE HERON (2025) dir. by Sophy Romvari; FAMILIAR TOUCH (2024) dir. by Sarah Friedland; Memorable Quotes: “I've always been interested in the female experience in the way that society and culture and even our environment impacts us and our identity.”“When I say I work in social impact and film people automatically assume it's documentary.”“It's scary to talk about things where you feel like you might be attacked.”“Something we're really interested in is not only supporting female filmmakers but it's about the films themselves.”Links:Follow Lauren On InstagramFollow Simbelle Productions On InstagramFollow BEFORE YOU On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

“Criminally underrated” is what one Letterboxd critic called Irving Franco's second feature, ADAM THE FIRST (2024). The film stunned me. The logline: “after finding a list of names and addresses, 14-year-old Adam sets out across the country to meet a series of men who could be his father.” It's a hero's journey, well-acted, and the last few scenes will crush you. Irving also scored the film, which you don't see very often. So why is it misunderstood? We talk about it in this episode with this two time feature writer-director-composer, Irving Franco. In this episode, Irving and I discuss:Does he check his Letterboxd reviews?How he got started in filmmaking;The lost art of DVD commentaries;His scrappy start to CHEERLEADER (2016) and how he was able to jump straight to a feature without making a short or proof of concept;Did his sales background help him with his pitching and his ability to raise funds for his first film?What he took out of his first film to making his second feature, 8 years later;Should you crowdfund at the end of the project?The inspiration for the writing of his films and the joys of including a hero's journey in a film;The casting of David Duchovny and what that means for indie filmmakers;The range required by Oakes Fegley and how he saw that in casting;Did he know that he had something great?The rarity of writer-director-composer; what should indie filmmakers know about scoring their film;The ending of ADAM THE FIRST and the power of a forceful conclusion;What's next for him and how we hopefully don't have to wait another 8 years between features, along with love for NYC (of course).Irving's Indie Film Highlight: GOOD TIME (2017) dir. by Benny Safdie & Josh Safdie Links:Follow Irving On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: BACK TO BURGUNDY (2017).Director: Cédric KlapischWriters: Cédric Klapisch; Santiago Amigorena; Jean-Marc RoulotCast: Pio Marmaï; Ana Girardot; François CivilSYNOPSISAfter a ten year absence, Jean returns to his hometown when his father falls ill. Reuniting with his sister Juliette and his brother Jérémie, they have to rebuild their relationship and trust as a family again.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

They say "write what you know" to start your filmmaking career. In this episode, my guest, Jake Ringsell, makes the case to create films about subjects you don't know. If it works, that's great, but if it doesn't, he concludes, then you've learned something.This is advanced, gutsy filmmaking, and I'm here for it with director-editor-musician Jake Ringsell. His new film, now streaming on YouTube, is called THE RALLY (2024). The tagline for the film is, "mortality is brought to the fore when a terminally ill woman goes on a camping excursion with her best friend."It's more than that, though. It's something beautiful that will move you, and I'm so glad to talk with Jake for this episode.In this episode, Jake and I discuss:The deeply personal reaction for his film on the festival circuit and on YouTube for his film;How he got started and whether student loans are a whole thing in the UK for film school (they are);Whether non-musicians do a good job shooting music videos?What should people to expect when they watch the film;The unique lighting that tells the story;The casting process to tell such a personal story;How he got connected with the writer of the film and how the plot differs from real-world events;The challenges and opportunities of making a film starring only two women when it's written and directed by two men;The decision for it to hit streaming at Omeleto after its festival run;His role with music in films as a musician and what indie filmmakers should know about scoring their films;How he feels about royalty-free music services;If indie filmmakers and musicians should work together more often;What's next for him. Jake's Indie Film Highlights: FESTIVAL OF SLAPS (2023) dir. by Abdou Cisse; OLYMPUS LOST (2025) dir. by Amadeus RedhaMemorable Quotes:“I think [THE RALLY] is really relatable. I think anyone has their own story that it reminds them of or might remind them of.” “We were just about to shoot the first shot, and this isn't a joke, and we had a line of about 50 nudists.”“If you're too close to something, even if you're writing a song, if you write something that hurts a bit too much, it's not going to be as great if you can look at it with hindsight.”“ If we'd made a film and they were like, that's not how two women...talk to each other, that's great because then we've learned something” “Somebody is going to take this as an app idea, but you should connect musicians with filmmakers.”Links:Watch THE RALLY NowFollow Jake On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

This conversation could have gone on for another few hours. I felt so blessed to chat with a kindred spirit about raising the profile of independent filmmakers, Hope Lawson. Hope founded Takeout LA after finding herself in the filmmaking business. She also works for Gersh so this episode opens up discussions I've been dying to have on the podcast. Takeout LA is a film screening series and it's also a party, which come to think of it, is what this episode is like. In this episode, Hope and I discuss:Does Hollywood still get its drink on?The origin story of Takeout LA and what the submission process is like;How she got her start in filmmaking;Breaking in — are people still willing to take those 345 AM wake up calls or is the issue the jobs aren't available?Making money after film school; What is happening at agency film festivals — and the first use of hip-pocketing on the pod — and who is being signed at agencies right now;Why Gersh must love her creation of Takeout; How crucial her diverse screening committee is for the success of Takeout; What constitutes a great short?Los Angeles' place in indie films and how it competes as a character in films;What's next for her — including, fingers crossed, a Hope Lawson film;The platform that rises above the rest for short films;If filmmakers can be a bit too twee with their films and what is “social chess”;Whether social media has made film sets better or worse. Hope's Indie Film Highlight: FORMER CULT MEMBER HEARS MUSIC FOR THE FIRST TIME (2020) dir. by Kristoffer Borgli — Watch NowMemorable Quotes:My former boss told me when I started, I came in and I was just hungover…”if you get sober before the age of 40, it'll be detrimental to your career.”“ I started Takeout right when I got to my agency job when I started as an assistant. And coming in, I immediately realized like all of my friends that do creative things, they hold these networking events, but it's all creatives. And we hold these networking events and it's all business people. There's no low pressure way for creatives to show their work to up and coming young people in the business.”“ And I got a job as a COVID PA, very glamorous. It was my job to get there at 3:45 AM and greet all of the really happy people on this freezing cold ranch.”“ For the first time in five years in Hollywood, I'm no one's assistant. It's great.”“When you go to school for this and you're promised like this kind of easy path up, it's a lot harder to motivate yourself to do like truly grunt work.”“There's the flip side of the coin, if you're too good of an assistant and you start feeling like, oh, this is where they want me forever, it's time to go.”“You are always your first agent.”“I think bringing young creatives into that kind of bubble where everyone's young and hungry now and we can't really do much, but once we're recognized and we get a little bit more power, we're gonna remember all the people we met when we were young and hungry, and we wanna make those movies.”“So a good short makes me care about the people in it and wonder when it ends.I don't need to know the whole story. I need to want to know.”“ We do a q and a after it's just kind of me up there cracking jokes and trying my best.”“The motto of me is I love to help.”“You can cool kid yourself into no one seeing your work ever.”Links:Follow Takeout LA On InstagramFollow Hope On InstagramSome of the films that were screened at Takeout:MIRIAM (2025) dir. by Josie AndrewsFUCK THAT GUY (2024) dir. by Hanna Gray OrganschiCONFESSIONS (2023) dir. by Stephanie KaznochaMY BRIEF CONVERSATION WITH THE DOJ (2024) dir. by Luke StricklerITS SNOWING IN THE SUMMER (2021) dir. by Gladimir GelinA KIND FAVOR (2024) dir. by Christian Klein and Mattias EvangelistaThe Cursed Sea (Il Mare Maledetto) dir. by Eliana Victoria AlcouloumreRABBIT (2024) dir. by Carson Culverhttps://app.frame.io/presentations/82412715-685c-4820-91ee-82b6e6fa11a0BETWEEN GIGS (donSMITH Visual Album) dir. by Brittney BriggsTHE DEATH OF ART SLOB (2023) dir. by Ahmar AhmadALIEN IN LOVE (2024) dir. by Corrinne James Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: ADAM THE FIRST (2024). Director: Irving FrancoWriter: Irving FrancoCast: Oakes Fegley; David Duchovny; T.R. KnightSYNOPSISAfter finding a list of names and addresses, 14-year-old Adam sets out across the country to meet a series of men who could be his father.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest, Lee Knight, won Best Director at 2025's HollyShorts for his stunning film, A FRIEND OF DOROTHY (2025), but you wouldn't know it because as you just heard, his thoughts are with the indie filmmakers still out there struggling. That sounds exactly like my type of filmmaker to host on the podcast.A FRIEND OF DOROTHY could be described as "a lonely widow's quiet life is upended when a teenage boy accidentally kicks his football into her garden", but that doesn't do justice to the casting, the lighting, the cinematography, and the music of this short. It's brilliant filmmaking from a man who worked his way up to making it, and I'm so glad to have him on the show to celebrate his success and talk about how he made it happen.In this episode, Lee and I discuss:after winning best director at HollyShorts, what he wished he knew before the festival run started;how he got started in filmmaking, initially honing his craft as an actor, and if he has one favorite;actors' relationships with older actors and whether it's something he's uniquely talented;why he waited for A FRIEND OF DOROTHY to be his directorial debut;if rejection is different as an actor versus a director;what he wants people to be thinking of when they watch his first film as a director;why he set up the film the way he did, with an intro that "plays with the audience";the runtime of 23 minutes and its reaction from programmers;the brilliant casting of the film and how his judgment as an actor influenced the final decisions;the consul general hosted a party for British filmmakers in Los Angeles. Can the UK do more to promote its filmmakers?what's next for this uniquely talented filmmaker.Lee's Indie Film Highlights: 22+1 (2025) dir. by Pippa Bennett-Warner; COOL BOY (2024) dir. by Peter Bjerre SallingMemorable Quotes:"I look back on my career as an actor and I think there was always there was always a writer director there, even when I was training. And I think it's because of ownership of story.""I also think that the film highlights a kind of safety that older people give, and specifically older women and as a gay man, and I think a lot of gay people say this...we always loved and felt very safe with older women. ""You have to be forced to dig deep because every time you are rejected, it's the same as an actor, every time you are rejected, if you stop, you just are missing out on digging that bit deeper to kind of really push forward." "When did you want to be a filmmaker? And I think I didn't, I wanted to be everything -- a storyteller in every sense, whatever medium it takes." "I actually don't think it's my job as a director to know about lenses. My job is to have people that are experts in that field and then we collaborate.""You've got to surround yourself with people you trust who are not going to feed your ego."Links:Follow Lee On InstagramFollow A FRIEND OF DOROTHY on InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

His feature film, SOMEWHERE WITH NO BRIDGES (2020)? Too short, he was told. His award winning short film, SHANTI RIDES SHOTGUN (2025)? Also -- too short! What the world is telling my guest, filmmaker Charles Frank, is that we need to see more of his lyrical vision of the world in the documentary space. His awards and credits in the indie space -- an incredible 10 Vimeo Staff picks, New York Times and New Yorker films, he runs his own production company called Voyager -- only serve to cement this point of view.I'm hoping he will be able to balance fatherhood with the challenges of deeply original filmmaking. As you'll see in this conversation, he's one of the best out there in the new generation of documentary filmmaking.In this episode, Charles and I talk about:the importance of family in his filmmaking and how it has evolved now that he is a father;how he got started in filmmaking (if you have the stapler video, lmk);his decision NOT to attend NYU after being admitted -- and still being successful;how film school graduates pay their student loans;10 Vimeo Staff picks, NYT, New Yorker -- what was the most important honor for his career?Richard Linklater's advice during the SXSW's filmmakers' brunch;his doc feature debut, SOMEWHERE WITH NO BRIDGES (2020);his reaction to the New York Times' review of the film and how I feel that critics too often can pile on indie filmmakers;life as a director married to an editor willing to kill his darlings;his SXSW film, SHANTI RIDES SHOTGUN (2025) and his upcoming Oscar campaign for the film;how he shot a film about a driving instructor in New York City(!) -- it's a crazy story;what his companies, Voyager and Leap Year, do;how he judges a project when a director comes to him -- socials? film school?;how you should never send Charles a templated email (not saying this would work, but if you sent an original email saying you listened to him here and personalized it just a bit, I'm guessing you'd get a response);does he worry about AI?;what Portland is like for indie filmmakers;his upcoming documentary, FATHERHOOD;how brandwork is different versus a general audience in terms of what they like.Charles Indie Film/Filmmaker Highlight: Sam Davis; DICK JOHNSON IS DEAD (2020) dir. by Kirsten JohnsonMemorable Quotes:"This is what like life is about. When we share that all together and it's captured on the camera, it's like the most majestic, magical stars aligning feeling.""When we get positive reviews about the film, it's almost always about the pace of the film.""I forget who said it, but AI shows us what art without soul looks like."Links:Follow Charles Frank On InstagramVoyager's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: GOODBYE, HELLO (2024).Director: Jack Cooper StimpsonWriters: Jeremy Ford; Bec PittardCast: Steve Guttenberg; Nancy Linari; Hollie BaharSYNOPSISNate Ryan returns home to Bundy Canyon to visit his dying father; Nate opens old wounds in an attempt to make peace with his incredibly unpeaceful father.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

That's my guest, Alex Salam, with one of the most riveting reasons to become a filmmaker I've ever heard. Given their significant training, it's practically impossible to do, but I wish we had more doctor/filmmakers in the world. From those that I've seen, they've produced work that is equal parts precision and creativity, the perfect combination of soul and mind. Alex's film, TWENTY TWENTY (2025) certainly does that — it's “set over one brutal night shift at the height of the COVID pandemic and shows a very seasoned doctor's emotional transformation” — and I feel so grateful we have filmmakers like Alex making art. In this episode, Alex and I talk about:How a medical doctor + film director relates to other filmmakers — are people curious?;Balancing his passions for medicine and filmmaking;The existential crisis to do “something artistic that is an expression of myself”;Whether he's surprised there's not more doctors/filmmakers and the quality of stories from the field;How his questions about moral character and medicine influence his filmmaking;The push and pull of methodical planning and precision inherent in the medical profession and creativity;What makes a great short film;The subtlety of his film, TWENTY TWENTY, and how he found his cinematic pace;The reaction to the audience of its screening at the Edinburgh International Film Festival;The importance of setting the sense of place;What he's taken away from all of the labs and fellowships he's been a part of;What his representatives at The Agency will do for his writing and directing;His next films.Alex's Indie Filmmaker Highlight: NFTS Sean Connery Lab ShortsMemorable Quotes:“What medicine has done for me as a filmmaker, it gives you a good understanding of character and emotion.” “You have to be clinically insane to go straight to a feature without having done a short or worked on TV.”On what makes a great short: “Have a beginning, a middle, and an end to a story.” “That's an advantage…if you're making a drama set in hospital, it's a shortcut.”“ The kind of collaborators that I like working with that are important for me to work with [are] other collaborators who can be a little bit vulnerable.”Links:Follow Alex On InstagramAlex Salam's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeThe tagline of the podcast is “the future of filmmaking.” I don't think you can earn that without hosting my guest, Elliott Hasler, who began his filmmaking journey at the age of 10.Fifteen years later, he's two features in, the latest being VINDICATION SWIM (2022), a biopic around Mercedes Gleitze and her attempt to become the first British woman to swim the English Channel. Big period pieces aren't what you'd expect him to take on, but that boldness is partially, he acknowledges, why he's been successful. He also has a keen sense of the business of film, writing for the film festival Raindance about “What It's Like to be the UK's Youngest Film Director.” Elliott is here today to share his unique insight. In this episode, Elliott and I talk about:His unique start at filmmaking at the age of 10(!) and whether something like that is made easier through YouTube and online tutorials;His article “What It's Like To Be UK's Youngest Film Director” and what he'd change about it looking back six years; How he related to older filmmakers at 16 and his advice for young filmmakers now;Encouraging the youth movement in filmmaking;How people should feel when they watch VINDICATION SWIM;The challenges of shooting at sea without a green screen or a tank and what drew him to spending his resources on that part of the film versus other elements;Whether he'd use AI in a future film;What he's learned about in the world of distribution;Whether he's interested in producing films;What a bottle film would like from him, coming from period pieces;How to make a unique short film;Breaking away from the festival circuit and branding of the system;Whether he feels pressure to have a large presence on YouTube, TikTok and social media; Differences in US and UK filmmaking;What's next for him.Elliott's Indie Film Highlight: WITCHFINDER GENERAL (1968) dir. by Michael ReevesMemorable Quotes:“What sets this film apart is the fact that it is all real.”On nepotism: “if it's going to make your life easier to get into something, then why not; I certainly would've used it, it would've made my life a hell of a lot easier.”“ Making the film is 50% of the journey and then releasing it is the next 50%.”“ What you always wanna strive for in a film is to take audience somewhere where they've never been before.” “ Always aim big. And then you can always temper your expectations a bit. But if you start out too small, then I think you're selling yourself short.”“ In terms of AI, I think essentially what it will be good as is sort of a big cost cutting exercise.”Links:Follow Elliott On Instagram“What It's Like to be the UK's Youngest Film Director.”Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE GRAND SEDUCTION (2013).Director: Daniel AndreScreenplay: Daniel AndreCast: Brendan Gleeson; Taylor Kitsch; Liane BalabanSYNOPSISResidents of a small fishing community in Newfoundland charm a doctor into becoming the town's full-time physician, in order to secure a vital factory contract.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I haven't done a how much I love New York City episode in a couple weeks, so the indie smash, OR SOMETHING (2024), and the film's director, Jeffrey Scotti Schroeder, makes for the absolute perfect guest. Why is the film being extended at Quad Cinemas? What does it say for indie filmmakers that the Substack crowd got so behind this film? Is it repeatable? Let's hope so. And if you haven't seen it at the time this airs, go see it through September 4th. Or later, if we keep talking about it.In this episode, Jeffrey and I talk about:The word of mouth success of OR SOMETHING (2024), whose theatrical run was extended through September 4th;His origin story — a true OG throwback to William Morris mailrooms;What makes a great agent?What to expect when you watch OR SOMETHING;How he wound up attached to the film, written by comedy stars Kareem Rahma and Mary Neely;What the six day, ultra-low filmmaking process was like and how filmmakers get the knowledge of avoiding dudes in golf carts in New York City;How the film blew up on blogs + NYC social media and whether it's repeatable in cities with a clear sense of place (warning: some Los Angeles indie film bashing in this answer);Whether there's infrastructure to make more of these films in NYC; How much it matters making investors whole to make your next film;Whether local government could get behind a gritty NYC film like this;What's next for him — it involves surfing and Rio. Jeffrey's Indie Film Highlight: THE SWEET EAST (2023) dir. Sean Price Williams Memorable Quotes:“The good agents would have a really hard and fast rule that they'd return everybody's call at least the same day.”“If you like your classic New York City walk and talk film and if you don't mind two people talking the entire movie….then you'll like it. If you don't like that type of movie, you're not gonna like this film.”“Hey, do you wanna do this ultra low budget feature? They were, what's the rate? And I told them…like..nothing.”“Whereas New York people are just mind your fucking business on both ends, like we're filming. And then we're in their space, excuse me, can you, they're like, mind your business. It's New York City.”“If you're leading with the idea of profitability, it might not come to fruition.”“Word of mouth is definitely the only way because we have a $0 marketing budget.”Links:Follow Jeffrey On InstagramFollow OR SOMETHING On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Brilliant in acting. Brilliant in producing. Brilliant in executive producing. Brilliant in...directing? Let's hope so. Given her extraordinarily body of work, most recently in front of the camera in Gil Henry's PAS VRAIMENT ORDINAIRE (2025), we can only hope my guest, Floriane Andersen, will be in the director's chair soon. She certainly has made the opportunity for herself; the production company she co-founded, Artak Pictures, has six projects in the works, two of which she is slated to direct. She is not only forging ahead, but creating a path for others to follow.In this episode, Floriane and I discuss:Her origin story and what the words “French actress” means to her;Why her production company takes on underrepresented voices;Whether she casts based on social media followings and trends;Working with first time female filmmakers versus people who may already know how the system works;Whether she sees other production companies in the championing female voices space as competition;As an actor, producer, and executive producer, how does she approach festivals like Edinburgh and Locarno;How actors can best take advantage of attending film festivals;Her advice for filmmakers just starting out and specifically for French filmmakers;What's next for her — SIX features! — and she's attached as a director for two of them.Floriane's Indie Film Highlight: TWO NEIGHBORS (2025) dir. by Ondine ViñaoMemorable Quotes: “I'm a storyteller, first and foremost.”“Females voices are underrepresented in the film industry so we will focus on that as long as there is still disparity. But hopefully this is not even going to be a subject soon and we can focus on other underrepresented voices.” “Sometimes festivals are not very actor friendly.”“I don't see it as work, even if it is a lot of work.”Links:Follow Floriane On InstagramFollow Artak Pictures On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RUNNING ON EMPTY (2024).Director: Daniel AndreScreenplay: Daniel AndreCast: Lucy Hale; Keir GilchristSYNOPSISMort discovers he has less than a year to live. After his fiancé leaves him, he meets Kate on a dating service that matches people by their death dates, all while being stalked by a crazy pimp.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

When you prepare, special filmmaking tends to happen. That's the case with my guest, Jordan Murphy Doidge, and his new film, CLOUT, which premiered at HollyShorts. It tells the story of a lonely teenage boy who risks everything to prove himself in a bid for online fame. In the wake of Netflix's hit ADOLESCENCE (2025), CLOUT has resonated with nonprofits and theaters in the United Kingdom. And as the reviews have shown after its world premiere, that's likely to spread. It's phenomenal filmmaking that was made possible by being prepared.In this episode, the early arriving Jordan and I talk about:How his team achieved the incredible reach of CLOUT in terms of screenings and partnerships with nonprofits;A director's ability to relate to a story, whether it's because of age or background, and how that matters in filmmaking;His origin story and his sweet yearly tradition with his mother and films;How brand work for luxury brands differs from his journey into narrative filmmaking;Whether luxury brands should pursue a singular, trusted voice or always keep everything competitive;Why he chose to bring CLOUT to HollyShorts and how his work with brands helps with promotion;His next project and what it's like working in London.Jordan's Indie Film Highlights: CALM WITH HORSES (2019) dir. by Nick Rowland; SHE RIDES SHOTGUN (2025) dir. by Nick RowlandMemorable Quotes:“ I just feel like I've probably been a storyteller for a very long time.”“It's all been in the prep.”“ When you are working with people that truly love cinema, like the real cinephiles you'll spend days just talking about stuff that no one will ever see or get in the film.”“ When you prep enough, it gives you the confidence to dance to the rhythm.” Links:Follow Jordan On InstagramFollow CLOUT On InstagramCLOUT WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Most people choose (relatively) comfortable and safe topics for their first films. A bank robbery over here, a meet cute over there. My guest, Kristen Gerweck Diaz has chosen Ramadi, Iraq, a phone booth on an ocean cliffside, and her newest, MILK BABY (2025), about a woman's entry into a maternity home and the sheer enormity of breastfeeding. These are not what you'd call easy topics. But for this lawyer turned filmmaker, she'd never sign up for the easy path, anyway. In this episode, Kristen and I discuss:How people encounter the film based on their familial status and whether their reaction surprises her; The best way to expand stories that are specific to a certain audience and making them universally appealing;What her legal degree from UCLA brings to her filmmaking;How she sets herself apart with challenging short filmmaking and running a set while keeping everyone involved and valued;AI in short filmmaking;How she's not on social media and what that means for her films and the people she casts — can actors afford to be off social media, too?;What's next for her.Kristen's Indie Film Highlight: OPEN YOUR EYES (1997) dir. by Alejandro AmenabarMemorable Quotes:“ I could always get a B on an exam even if I didn't go to class and didn't memorize all the law. Because 80% of the analysis is your storytelling and your creative thinking.”“ Do what people are telling you is not possible because it always is.” “ [AI] is like the internet, it's not going away, right? It's here to stay and it's gonna advance. And so how can I use it? But in the way that I wanna tell stories that do not compromise.”“True wealth is the amount of time I can spend offline.”Links:Follow MILK BABY On InstagramNew Current InterviewSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: HELLO I MUST BE GOING (2012).Director: Todd LouisoWriter: Sarah KoskoffCast: Melanie Lynskey; Christopher Abbott; Blythe DannerSYNOPSISA divorcee (Melanie Lynskey) moves back in with her parents and begins a clandestine affair with a 19-year-old suitor (Christopher Abbott).Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch BONNIE (2022) NowThere's so few people involved in the film industry that can be referred to by just their first name, but in the case of my guest, Bonnie Timmermann, she is one who achieved that honor. If I asked you to pick 20 films out of the last 25 years, I would bet around 5 would have been cast by Bonnie. The documentary, now available for streaming, BONNIE (2022), is a must-watch.We go beyond the doc to talk about what she wish was covered, representation in casting, how directors and casting directors should look at TikTok and YouTube influencers, and more. In this episode, Bonnie and I discuss:The challenges of insincerity for a casting director;How she got started in casting and whether it's teachable;What the documentary on her life missed from her perspective;Representation in casting and when to use an actor (or not use an actor!) of a specific type;How she decides whether to work with a director or not;Whether in person casting translates to performance on film;How directors should look at casting TikTok and YouTube influencers;The difference in casting men and women;Did she feel like she got a casting decision wrong?Epic story about actor Ben Foster taking on a Ridley Scott film;How she casts accents;What's next for this amazing casting director. Bonnie's Indie Filmmaker Highlight: Brian SwibelMemorable Quotes:“I'm an emotional person. I'm terribly sensitive. I can be funny at times. I think humor helps you always. So yes, I think the darkest side of me helped me to see the darkest and the lightest sides of actors.”“I used to say, and it was true, if you find me, I'm yours because I would never list myself in a phone book or one of those books where you can find people.” “You are really the first director. You are directing the actor on film yourself, and you wanna get the best out of them so that when your director sees their work that they get a really good shot.”Links:Watch BONNIE (2022) Now Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Let's put it down right now: Brook Linder has the branded content hit of the year, with his weekly promos for Everybody's Live With John Mulaney. Vimeo put it out as its own thing, and once you turn on the compilation of promos, you can't turn it off. It'll be running on repeat in your head. I warned you.We go deep in this episode in getting banned from Springfield, Missouri high schools, not just for his film crew but every film crew afterwards, early Kickstarter, what it's like making branded content, and so much more. As Brook says, let's go ham.In this episode, Brook and I talk about:Those epic John Mulaney ads (so rewatchable) and why they are the branded success of the year;How hard was it for him to give up editing;Did his viral success surprise him or was it just the culmination of all the work he put in?How shooting on film can be a crutch;The expectations when brands call him and how it differs from his personal aesthetic; What music video shoots are really like;His origin story — fellow Missourian!;His first short, GHOUL SCHOOL (2013), its Kickstarter campaign, and the film that got him kicked out of filming in the Springfield high school system (and everyone else going forward);How he does brand work and getting his name out there without pissing his clients off;The possibility of an AI Brook Linder video?Whether this viral success has helped him with his own projects;His new documentary on the band, someone still lives you boris yeltsin, and their trip to Russia;How much we love watching trailers but the economics of it — it's tough!Brook's Indie Film Highlight: ARCADIAN (2024) dir. by Benjamin BrewerMemorable Quotes:“ We'd blow up a classroom, right? Go ham, and the school would kick us out. ““ You need to empower an editor and say, Hey look, you gotta make this yours. You gotta tell the story that makes sense to you and not work with the bones of whatever I thought I was gonna do.”“ I have used film instead of having a very clear concept. I'm a music video guy, so there's a lot of flash involved. Okay. So I've used film when I thought eh, can I be a filmy vibe?”“Some artists really want them and because it feels if you don't have a music video, you aren't minted in some way.”Links:Follow Brook Linder On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: KAJAKI (2014).Director: Paul KatisWriter: Tom WilliamsCast: David Elliot; Mark Stanley; Scott Kyle; Ali CookSYNOPSISHelmand Province in Afghanistan, 2006. A company of young British soldiers encounter an unexpected, terrifying enemy: a dried-out river bed, and with every step the possibility of an anti-personnel mine that could kill.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

You'd expect comedy out of a comedian turned actor and then director, right? Think again. My guest, filmmaker Ali Cook, turns what you'd expect upside down. So far, he's written two short films, directed one, and is working now on his first few features. He acted in a truly phenomenal Afghanistan war film, KAJAKI (2014), sometimes known as Kilo Two Bravo, and he's got more insight than we could possibly cover in 30 minutes. I tried to keep my laughter to a minimum, but come on. Go watch his films. Ali is talented and funny. In this episode, Ali and I discuss:What his goals are for an exquisitely filmed short film in THE PEARL COMB (2025) and previously THE CUNNING MAN (2019);How a comedian and magician in Britain became an indie film actor, writer and director; His website lists his skills as directing, writing, producing, acting — does he have a favorite?What he took away from his first short film;Whether a high profile social media account helps his indie filmmaking career — “I think it's a little bit different in the UK”;What to expect to see when they watch THE PEARL COMB and how he structures his films like a magic trick;How he brings the showman's ability to filmmaking;What draws him to the Victorian look for his filmsHis experience of watching his films in a theater and with an audience;The “awful” game you are playing trying to find honest feedback for a film;The clues in THE PEARL COMB that explain the ending;The best compliment you can give a short film — you have to rewatch it;How deflating it must be for a film with a big festival run to just be uploaded to YouTube;The brilliance of KAJAKI (2014) as a war film and his reflections on the film;what's next for this talented and funny filmmaker.Ali's Indie Film Highlights: KAJAKI (2014) dir. by Paul Katis; THE SCHOOL DUEL (2024) dir. by Todd Wiseman JrMemorable Quotes:“The structure of a one-man show is very similar to a film, really. And then I just realized there was a lot of inherent skills that I knew, the most brutal one being, having a pretty good sense of when people are getting bored.”“ I think my least favorite is producing. But you need to be a great multitasker and I'm not, and you have to have excellent people skills of which mine are debatable.” “ The game of a comedian and the game of a magician is to paint thoughts in the audience's mind via assumption. So every joke is when you shatter an assumption.”“I actually watch the audiences. So when the surprises are coming, I like to watch someone two or three rows in front of me, and I like to see if they're gonna jump or not.” “ The ending ideally should be surprising yet inevitable.” Links: Follow Ali On InstagramFollow THE PEARL COMB On InstagramAli Cook's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I feel like this would be a good plotline for a gonzo Mission Impossible movie: make romcoms and comedy dramas relevant again. In one sentence, my guest, director and podcaster Charles Hood, declared “comedies and comedy dramas are dead, sadly” but also came back in the next few sentences with the announcement, I'm releasing a romcom feature later this year. This sounds exactly like a challenge, if you choose to accept it, for one of the co-hosts of the official Mission Impossible podcast. And here's to thinking he'll be successful. In this episode, Charles and I talk about:His journey to hosting the unofficial — and then the official — Mission Impossible podcast, “Light The Fuse”;Why more filmmakers aren't podcasting and what it takes to be successful in the medium;How he got his start in filmmaking;Should you make a microbudget feature like Charles' first film, FREEZER BURN (2007), or a great short film?How he found himself in the comedy-drama romcom space;The ten year anniversary of NIGHT OWLS (2015), his reflections on the film, and his focus on screenplay structure going into making the film; His work at go90, a Verizon “mobile-oriented social entertainment platform” (who knew about that?!);The value of structured, well written script;Whether the official MI podcast helped him get “above the noise”;When we should expect his next project, THERE SHE GOESHow the vote of actors participating in an indie film project is so important.Charlie's Indie Film Highlight: Josh Greenbaum; GHOST BOY (2025) dir. by Rodney Ascher; THE NIGHTMARE (2015) dir. by Rodney Ascher; A GLITCH IN THE MATRIX (2021) dir. by Rodney AscherMemorable Quotes:“ We always talk to everybody about Tom Cruise's hairstyle, their favorite haircut from the different movies. And we also would jokingly talk about how we're in a golden age of dog cinema because there were a lot of dog movies that have come out in the last 10 years.”“ If you're gonna do a big short with a real budget, you might as well try to figure out how to squeeze that budget into a feature and do a feature.”“Comedies and comedy dramas are dead, sadly.”“ Actually if you make a romantic comedy, you get to sneak in a lot of character work that you wouldn't get to do in a lot of other genres.”“We learned a lot over those years, writing studio comedies and learning structure and that applied to this movie that is mainly just two people talking.”“So I'm still chasing that feeling again of making NIGHT OWLS.”“They always say that, you have to know the rules before you can break them. And I was breaking them on FREEZER BURN without knowing them.”“What Tome Cruise is all about is….serving the audience.”Links:Follow Charles On InstagramWatch Indie Film Highlight: NIGHT OWLS (2015)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: PEOPLE PLACES THINGS (2015). Director: James C. StrouseScreenplay: James C. StrouseCast: Jermaine Clement; Regina Hall; Stephanie AllynneSYNOPSISA graphic novelist /professor (Jemaine Clement) tries to navigate the unfamiliar waters of single fatherhood and dating.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

This is still an indie film podcast, don't misunderstand, but if I had to do one conversation with somebody who made a studio film, it would be with my guest Ebs Burnough. I'd argue no other person understands the indie film market like he does, especially now with the release of KEROUAC'S ROAD: THE BEAT OF A NATION (2025). The film examines how Jack Kerouac's iconic novel “On the Road” resonates in contemporary America. Ebs has a career that hardly seems repeatable — working for the White House to chairing the Sundance Institute — but those kind of unique stories make for the best documentary filmmakers. And we have a great one here today. In this episode, Ebs and I discuss:How to make a documentary stand out;His incredible story of chairing the Sundance Institute, working at the White House under President Obama, and now filmmaking, and what that means for independent directors looking to follow his path;What did he take away from his first doc, THE CAPOTE TAPES (2019), to his new film;How the process was different as a studio film and if it's exactly the film he wanted to make;The difficulty for directors in accepting feedback and how he views that challenge;The decisions surrounding music in the film and why he decided to go with a more contemporary soundtrack;How we get more people in theaters for documentaries;Whether the festival system is still working for films and his thoughts on the distribution system;What's next for him and if he ever imagines working on narrative projects.Ebs' Indie Film Highlight: W. Kamau BellMemorable Quotes:“Wouldn't it be interesting to talk to people who couldn't have gone on the road like Jack did in 1957, but can today?” “ Take some risks. Nothing's guaranteed, but if you don't try, you can't fail. But if you can't fail, you can't succeed.”“I knew that I wanted to bring ‘On the Road' into the 21st century.” “Sometimes your vision is super clear to you and you show it to 10 other people and they're, I don't get your vision.”“What festivals do brilliantly is curate exceptional content.”Links:Follow Ebs On InstagramUS Theatrical Dates For KEROUAC'S ROADSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if we've ever had such fire practical advice from a film festival programmer who — I know this is shocking — actually cares about indie filmmakers than the pod does today with my guest, Imani Davis. From how the PROOF Film Festival got started to the advice she gives directors to take notes and cut your short films, this is absolutely the pod for you if you want to make it in indie film today. I'm so excited for you to hear from such an innovative voice in the industry. Imani and I talk about:How she started a film festival that — this seems like it would be a low bar but here we are! — actually supports independent filmmakers;How she developed the idea of a proof of concept festival and how the board of American Cinematheque reacted;How PROOF works and what she learned for the third year, including partnering with CALLO and how they are prepping for accepting documentaries in 2026;Her thoughts on serving on the 2025 jury for NFFTY, the largest youth film festival in the world, and what it means for the future of filmmaking;How she handles when someone contacts her outside of the normal route of submission and how film programmers should handle this; What does she wish more filmmakers knew about before they applied for the festival;Why so many filmmakers do not request feedback;How film festivals should handle representation for filmmakers; The future of Los Angeles for indie filmmakers;What's next for PROOF and this exciting filmmaker, including a PROOF development fund.Imani's Indie Film Highlights: SCOTTY'S VAG (2023) dir. by Chaconne Martin-Berkowicz; QUAKER (2025) cinematography by Vittoria Campaner; MAKE ME A PIZZA (2024) dir. by Talia Shea LevinMemorable Quotes:“And then I started this process of really fleshing out what this could look like, and presenting it to our Board of Directors, and our executive director was like that's the most enthusiastic I've ever seen the Board about anything.” “Our whole maybe pile could be a whole other festival.”“When I press play, I'm rooting for every film…I want this to be so good.”“We just naturally have parity…and that speaks to process.” Links:Follow Imani Davis On InstagramPROOF Film Festival Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: COME AS YOU ARE (2019).Director: Richard WongScreenplay: Erik LinthorstCast: Grant Rosenmeyer; Hayden Szeto; Ravi PatelSYNOPSISA travelling nurse takes three disabled men on a road trip to Montreal so they can lose their virginity at a brothel.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSubscribe to our YouTube channelSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

“Creative director, curator, publisher, collector” and founder of Sixteen World Xavier Encinas joins me on the podcast for this episode. I'd argue you could also add great podcast guest because he pushes back against this idea that France is a great haven for independent film. As part of his Sixteen artistic venture, he curates the Sixteen Film Institute, with a new film weekly, mostly from around the world, not France. Let's not misstate his argument — he has nothing against French cinema, he lives there. He's planning film events in Paris for this Fall. He's saying, the world of filmmaking especially in Asia is just as exciting. I couldn't be more on board. If you haven't heard of the Sixteen Film Institute platform, you should — and cheers to the creatives making it happen for independent filmmakers. In this episode, we discuss:How he defines himself as an artist;Why he started Sixteen in (no pun intended) 2016 while he was working in advertising and fashion;If ad agencies are okay with second gigs like this and how he combines Sixteen with his career;How he isn't bullish on Paris and France cinema — “we show very few short films from French directors” — and why he thinks that might be;What is the Sixteen Film Institute and the process of how it works; Are filmmakers being too precious with their short films and the place of Sixteen in the market?The audience in France for arthouse films;How Sixteen will start to have events in Paris in October and his plans to grow the company…with humility and sustainability. Xavier's Indie Filmmaker Highlights: Theo Angelopoulos; Chloe ZhaoMemorable Quotes: “ I don't think that I would've been to be able to publish the greatest photographers alive if that would've been a commercial artist.” “The global stage is the stage and France is trying to catch up with it.”“ Yes, the state gives you money, but doesn't make your work visible.”“I value so much the relationship that I have with the artists.” Links:Follow Xavier On InstagramFollow Sixteen Film Institute On InstagramSixteen Film Institute WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

There's no more exciting place to be in independent film than the intersection of France and the United States, or as a filmmaker in either of these locations. In France, cinemas are packed and the Cannes Film Festival often sets the tone for what's considered the best films of the year. So if the goal is understanding France's role in global cinema, there is no better person than my guest, Amanda Sthers, who has released three feature films that star globally known actors and help explain, in each of their ways, what is attractive about filmmaking in both countries. Along with filmmaking, her production company aims to “build bridges between Europe and the United States.” That's the goal of this episode, too.Amanda and I talk about:What it's like to have somebody on the podcast without an immediate project to pitch!How she got her start as a novelist, not a filmmaker, at 15 (!);How she's never taken on a script she hasn't written and what it would take for her to do so; As a novelist, did she write her books with a film adaptation in mind?The role of screenplays in films and how to define what's good or not — “ the way you say things without saying them, that's a good screenplay.”;Should screenwriters direct films?How she would introduce her three feature films -- HOLY LANDS (2017), MADAME (2017), PROMISES (2021);Why the trust given to her from well known actors hasn't translated to reviews of the films;How she runs a “collaborative” set and how she works “exactly like Woody Allen” (!);Her production company and differences in American and French filmmaking;Why French people love going to the cinema and the difficulty of streaming French cinema in the United States;How she's able to work with globally known actors;What's next for her. Amanda's Indie Filmmaker Highlight: Bonnie TimmermanMemorable Quotes:“The first time I was on a set, it was mine.” “ And then it took 10 more years for me to direct my first movie and it wasn't really my decision. I was writing a movie for a studio that basically ordered me [to write a] French “Love Actually.” “ You need to know how to betray your own work because it's not the same way to write a novel and to write a screenplay.”“ A screenplay is not a piece of art, per se. It's a tool to make a good movie.”“ It's a collective work. And I just feel that everyone is important on a set. Everyone should be celebrated because it's always a miracle when a movie is good.”“A writer director, when you give something so honest and so personal, because when people don't like my movie, I feel that they don't like me, which is not true, but I need to work on that.”Links:Follow Amanda On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content