First Time Go

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

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: I LIKE MOVIES (2022).Director: Chandler LevackScreenplay: Chandler LevackCast: Isaiah Lehtinen; Percy Hynes White; Veronika SlowikowskaSYNOPSISSocially awkward 17-year-old cinephile Lawrence Kweller takes a part-time job at Sequels video store, where he forms a complicated friendship with his older store manager, Alana. Lawrence hopes to earn enough money to achieve his dream of attending film school at NYU.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

Bottle films, films made predominately in one location, are like playing with fire. There's not a lot of room to make a good film if you don't cast well, for instance, or if the location of your bottle isn't fantastic. My guest, director Nicolai Schumann, understood all this….because he watched a bunch of the previous bottle films…and went ahead with THE LONELY MUSKETEER (2024) anyway. And I'm so glad that he did. The film tells the story of “the psychological downfall of a man who is highly traumatized by life.” Along the way, it's earned numerous awards, including cinematography at the 2025 Raindance Film Festival. And Nico is here to talk about it with me today. In this episode, Nico and I discuss:The clausterphobic nature of his film and what people should expect to see when they watch THE LONELY MUSKETEER?The pairing of investment bankers and hooligans in London that made this film;The secret to success for the feature film that won best cinematography at Raindance 2025;Why they cast Edward Hogg for a film that centers around a man locked in a box;How he feels about bottle films;Utilizing color throughout the film as well as putting important scenes in the credits;Whether he can trace awards won to tangible benefits for the film;London as an indie filmmaking location;What he's working on now” — “three teenagers who decide on a suicide pact in the backdrop of Thatcherism”;Nico's Indie Film Highlight: JAMES (2024) dir. by Max TrainMemorable Quotes:“The next decision I made, stylistically or creatively, is that there is not a single camera movement in the whole movie. So our big role model for that was a shower scene in PSYCHO;“ If there's not a hundred percent certainty that the actor can put it off, we wouldn't have done it.”“ The other thing which was really important for us is that we got the visuals right…that we started with wide lenses and then we went to long lenses over the movie so that the walls were literally closing in on the actor.” “The credit sequence is there to keep the audience guessing.”Links:Follow Nicolai On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeThis is way easier said than done but when you're making a short film, you need a couple things to exceptionally stand out. Whether it's the writing, cinematography, subject…something. Otherwise, you're lost in a sea of submissions. The money is almost irrelevant if you don't have the goods. For my guest Jennie Butler and her film, GEORGIE (2024), it's piecing out a theme of his life from an interview and then making an extraordinary film from that thread. Jennie calls GEORGIE a “melancholic but humorous profile of an older man who has had a very hard life and now is living with his decisions.”In this episode, Jenny and I discuss:What it's like to be in Palm Springs in June — it's hot;GEORGIE is such a fantastic, layered film — are there better short films out there?;How she got her start — what I do now “is not that different”;The difficulty in starting off just freelancing;Does brandwork help with her filmmaking? “That comes from journalism”;Why she never sees herself going into narrative;What people should expect to see when they watch GEORGIE;How she decided on the motif of loneliness;How she balanced making GEORGIE a true documentary and not simply a marketing campaign for her subject;The challenge of how gotcha moments sell in documentary and how she makes a “nod to the audience this is a slightly unreliable narrator of his own story”;Her festival experience with GEORGIE and her advice for hitting the festival circuit;FilmFreeway — come on the show! — and the scam coupons for festivals you've never heard of;Her recommendations for someone starting off in documentary;What she's working on next.Jennie's Indie Film Highlight: QUEEN OF VERSAILLES (2012) dir. by Lauren Greenfield; THIN (2006) dir. by Lauren Greenfield; Omer SamiMemorable Quotes:“ Some of the films they looked like they cost a million dollars to make, they were insanely high budget. A lot of those def came from Europe because they have the money for that there, because their governments support that, and ours doesn't, but that's another topic.”“ Yes, the films are quote unquote higher quality, but it's really just all about the storytelling.”“ I just remember the first time I edited a video. You get into that flow state. I'd never really felt that before with writing. Writing always felt like a struggle.”“Once you make more and more films, you wanna control more and more aspects of the film. And then in documentary, of course, you have to let go of a lot of control because you're working with real people.”“Making subjects comfortable with this process is literally the hardest part of making a documentary. There is nothing harder.““Submit to the festivals that make sense for your film.”“ I didn't submit to Venice. I didn't submit to Berlin because if you look, they let in half a percent of films. That's throwing away $50.”“ I've met a bunch of programmers, so of course the first thing I would do on my next run is email those programmers who I've met.”“ Shorts are a really great way to hone your craft and also show your work.”“ Figure out something where the scope is literally so small, but you can show what you can do.” Links:Follow Jennie Butler On InstagramVisit Jennie Butler's Website Follow The Rough Cut Pod (Jennie's old pod)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: NIGHT OWLS (2015). Director: Charles HoodScreenplay: Charles Hood; Seth GoldsmithCast: Rosa Salazar; Adam Pally; Peter KrauseSYNOPSISKevin goes home with Madeline for a drunken one-night stand and is horrified to learn she is his boss's ex-mistress. After he catches her taking a box of sleeping pills, they slowly start to fall in love as he keeps her awake all night.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

Watch This Episode On YouTubeWatch SOVEREIGN NowSOVEREIGN (2025) is a filmmakers' thriller and the story behind its director, my guest, Christian Swegal, is one of the best in independent film this year. The reason that so many investors are reluctant to back a new director for their first feature is one of skepticism — they think the director won't be able to handle the responsibility. And when you add in powerhouse actors like Nick Offerman and Dennis Quaid, it's fair to expect a watered-down mush of a film which critics and audiences would chalk up to, well, it was a first time feature director.That's not the fate for Christian. Critics are talking about how it is perhaps Nick Offerman's best career performance, a sublime take on a man lost in the Sovereign citizen movement, and we are here today talking about how the hell did he pull it off…and with such swagger. In this episode, Christian and I discuss:Should you Google the story behind SOVEREIGN?What should people expect to see when they watch the film? “It's a character study of this man and his relationship with his son”;How he was able to make such an accomplished film for his debut feature?What he owes the real-life characters and the viewers when writing an “inspired by true events” story?How the film is a filmmaker's thriller with the little motifs in the film, and he'll explain the baby motif in the film;The brilliant casting of Nick Offerman in this film;Not getting hung up on casting -- a fantastic script will attract talented people to your film;The process of funding the film, including the use of Slated ad tax rebates;How it went from Tribeca to distribution within a few months;Advice he'd give somebody directing their first feature?“When in charge, be in charge” and how he implemented his vision no matter what;What he's working on next — “I'm drawn to true stories”Christian's Indie Film Highlight: SUNDOWN (2021) dir. by Michel Franco; MEMORY (2023) dir. by Michel FrancoMemorable Quotes:“ If people engage with the movie to the degree that they're interested to go and Google the real events I think that's a good sign.”“ The movie will be for some people and not for other people. And that's fine. It's better to be polarizing in that way. I think for a movie our size than it is to try to please every audience and to a degree.”“Or how you relate to a baby. It shows how you relate to something that's innocent and pure and really it's a stand in for empathy.”“ My advice to filmmakers that I wish I had earlier was just don't wait. Focus on your material and on the story and then just go.”“ Every single person we talk to along the way, in pre-production through production, through the end of it, had their spin on how they would fix the thing and make it different. And that's what's great. And when they direct their movie, then they can do their version of it.”Links:Follow Christian On InstagramFollow SOVEREIGN On InstagramSupport 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: MARJORIE PRIME (2017). Director: Michael AlmereydaWriters: Michael Almereyda; Jordan HarrisonCast: Geena Davis; Hannah Gross; Jon HammSYNOPSISEighty-six-year-old Marjorie spends her final, ailing days with a computerized version of her deceased husband. With the intent to recount their life together, Marjorie's Prime relies on the information from her and her kin to develop a more complex understanding of his history. As their interactions deepen, the family begins to develop diverging recounts of their lives, drawn into the chance to reconstruct the often painful past.Watch This Episode On YouTubeSubscribe 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

Happy 2nd anniversary to the pod, and I can't think of a more vital filmmaker for our time and for this episode than Nathaniel Lezra. His film ROADS OF FIRE (2025), winner of the Best Feature Documentary at the 2025 ‪@officialSBIFF‬ interweaves the lives of a human smuggler navigating the treacherous Darién Gap (the only land bridge between North and South America), an asylum seeker rebuilding her life in New York City, and volunteers working on the frontlines of a growing humanitarian emergency.It found distribution from ‪@NewMountainFilms‬ with a theatrical release in September 2025, with event screenings in markets like New York and Los Angeles. As we talk about, it's the straight shooting explainer of the migrant crisis that our country needs right now. So much to be excited for in the third year of the podcast — happy Fourth of July. In this episode, Nat and I talk about:does he see ROADS OF FIRE as an explainer of the migrant crisis?how the film is a straight shooter politically;the theatrical run planned for September;the ambition of the film and the three threads — asylum seekers in NYC, migrants in Colombia, and humanitarian organizations — that he nimbly showcases in the film;his recommendation for film school graduates in getting started with shoots near Ukraine and Colombia; why documentary and not narrative?how narrative films demand life experience;how much he cares about gear as a filmmaker often on the road;what's next for him.Nathaniel's Indie Film Highlight: THE ACT OF KILLING (2012) dir. by Joshua Oppenheimer; THE LOOK OF SILENCE (2014) dir. by Joshua Oppenheimer; Matthew Heineman; THE TERRITORY (2022) dir. by Alex Pritz; 20 DAYS IN MARIUPOL (2023) dir. by Mstyslav ChernovMemorable Quotes:“ This film…traces very much my own exposure and journey becoming more aware of the migrant crisis”“ I've never put myself in a position other than once or twice in Colombia where I felt like I was letting go of control and truly just riding what was given to me.”“You'd be surprised what your own nuts and bolts production literacy will get you.”“ I don't want to be scared of the world. I want to have experiences.”“ And for me, the only way to do that is to find those stories and just accept my vulnerability and accept my ignorance to some degree and walk out into the world and see what the world has to offer.” “You need to live life in a serious way before you take a bite out of a narrative project.” “I spoke to some high schoolers not too long ago, and a lot of people are really astounded to learn just the value of your iPhone.” Links:Follow Nat On InstagramROADS OF FIRE WebsiteSupport 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: YOU CAN COUNT ON ME (2000).Director: Kenneth LonerganScreenplay: Kenneth LonerganCast: Laura Linney; Kenneth Lonergan; Mark Ruffalo; Matthew BroderickSYNOPSISSammy is a single mother who is extremely protective of her 8-year old son. She is satisfied with living in the small town she grew up in and working in a local bank. When her brother Terry visits he fits the void in the life of both her and her son. Temporarily free of the constraints of single motherhood she begins to break free of her normal routine. In a string of traumatic events Sammy is torn between helping her brother and her maternal instinct to protect her son from getting hurt.Watch This Episode On YouTubeSubscribe 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

Watch FORWARD THINKING (2025) NowI'm not sure if the pod has ever gotten a bigger honor than what Antonio Harper & Abby Burton gave it in this episode — sure, they said, listeners can watch our short, currently on its festival run. FORWARD THINKING (2025) is a “surreal short film about a young black man who is attempting to trademark his likeness in the event that he's murdered by the police.” And to me, that sells it short. It's a film about race that goes further than any other film I've seen in a way that makes you think about what you saw so much you'll watch it again, all to make you smile once again with the amazing closing scene. Go watch FORWARD THINKING, go watch it again, and come back and hear this fantastic conversation with an epic filmmaking duo from Cleveland. In this episode, we talk abouthow they got started in filmmaking;what they would recommend in regards to working as a team;the ideas that motivated FORWARD THINKING (2025);How the film goes further than usual on the topic of race — was there pushback for being so bold?;the amazing music for the film — the Cleveland connection got it from Chip Tha Ripper;the importance of a final shot in a short film;how to discuss race, disability, gender in filmmaking and finding the balance in between highlighting and ignoring those areas;the Black ecosystem of film and whether it's represented well in the larger film festival/independent film scene;the advantages of subtlety and how it allows filmmakers to go further than if they were blatantly talking about a topic;The amazingness of Cleveland for independent film;what's next for them — Abby saves them for giving away important information!Abby's Indie Film Highlight: TALK (2025) dir. by Jessica Perlman; RENEGADES - Judy-Lynn del Rey dir. by Jeremy HsingMemorable Quotes:“Don't be a Dwayne. Practice cultural appreciation, not cultural appropriation.”“ Do I see myself wanting to get up at 4:00 AM to run suicides or get up at 4:00 AM for a call?”“The music just ended up being that Cleveland luck”“ Disability and disabled filmmakers are just that, they're just more filmmakers and they need to have their stories told. They need to have the opportunity to show what they can do. And, yes, it's a very vulnerable thing to come out and talk about it when it's not as accepted in the industry.”The approach to race “ should be a lot like what Abby and I did with FORWARD THINKING” “What I would hope to see is, especially in the in industry, is just having more people of color and underrepresented actors in roles that aren't necessarily traditionally tailored for that group.”Links:Follow Abby On InstagramFollow Antonio On InstagramSubscribe To West 10G Productions On YouTubeSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

An upcoming wedding, a film that made it into Tribeca -- filmmaker Blake Jarvis is having himself a summer. IN JEFF WE TRUST (2025)'s logline is "two mentally ill girls regret joining a cult...but is it too late?" It is a hilarious short film produced and starring comedy duo Sydney Heller and Olivia DeLaurentis. Other than finding out if he has a band or a DJ, we go pretty deep into this guy's amazing summer for this episode.Blake and I talk about:how did he find out his film made Tribeca?what should they expect to see IN JEFF WE TRUST and the relationship with Sydney and Olivia?the honor of making a film somebody else wrote;how did he started in filmmaking?his ability to edit (he's edited everything he's released) and how it's an important skill for indie filmmakers;his thoughts on filming on film as an accomplished editor;what's his thought process of creating shorts and what's their strategy going into Tribeca?why did he start a YouTube channel? It's relatively rare in indie filmmaking; what's next for him — making little comedy shorts with friends, up on his YouTube channelMemorable Quotes:"I'm sure like a lot of people, you get stuck in the loop of [working on other projects] and you have to remember that you have to do your own stuff as well."“You make three movies: what you write, what you shoot, and what you edit.” "if you're able to use film, freaking do it."“ Maybe I'd have better luck on Vimeo, but I've never also understood the interface of Vimeo. I'm such a grandpa with that.”Blake's Indie Film Highlight: Michael ReesLinks:Follow Blake On InstagramFollow IN JEFF WE TRUST On InstagramFollow CREATURE CAMP On YouTubeSupport 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: HOW TO MAKE MILLIONS BEFORE GRANDMA DIES (2024)Director: Pat BoonnitipatWriters: Pat Boonnitipat; Thodsapon ThiptinnakornCast: Putthipong Assaratanakul; Usha Seamkhum; Sanya KunakornSYNOPSISA man, driven by his desire for a multi-million dollar inheritance, begins to care for his terminally ill grandmother. However, winning her favor will not be an easy task and he is not the only one with an eye on the money.Watch This Episode On YouTubeSubscribe 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

Watch This Episode On YouTubeJoining me today is…he is going to hate that I say it this way, as you'll hear in the conversation…but the director with the most nominated film at Raindance, Max Morgan, talking about his film BREAKWATER (2025).The ability to make your first feature, your first film, carry the weight of, and I'll quote Max here, “people never mean what they say, and there is a lot of that in BREAKWATER” is simply breathtaking. I've posted the trailer in the YouTube conversation, go watch it and you see what you mean. And the trailer is hardly encompassing of the beauty of the film.The film has its premiere at Raindance on June 23rd, 2025 — sold out — but tickets are still available for the 24th. Go watch it if you can. There's a reason it's the most nominated film, the first feature out of the University of Oxford since 1982, and that's Max Morgan and his team. In this episode, Max and I talk about:What people should expect to see when they watch BREAKWATER, such a wide ranging and expansive film — “it's a psychological drama about connection between two characters, Otto and an older retired angler on the East Coast of England…and it's about how their lives come together, collide through happenstance and fuse irreversibly and thematically”;How he decided to make such an ambitious film, the first film he ever shot! — “so it really was like a massive learning curve for me”; “and then when I went to university, I did lots of theater”;Was screenwriting a safety net for him? “ I find that thinking about myself as a writer is almost more important to me as thinking myself as a director in some ways”His advice for someone who is not gifted at writing and how to develop that skill without decades of education — “I don't think that being able to write a good play or screenplay is necessarily a gift. I think it's important to think about writing and directing in all kind of creative capacities as more of a craft.”His issues with the term debut film and filmmaker as “quite misleading”, as there's so much that goes into a creative's life;How mentors gave him advice on what he termed “bad plays, bad screenplays” — “ if anyone tells you as a piece of feedback that something is straight up bad, then they're really awful at giving notes”; How you have to trust your instincts as well — you have to challenge incredibly bad and incredibly good feedback equally;The realistic dialogue in BREAKWATER — was it from life experience? “It was from the theater”; “people never mean what they say, and there is a lot of that in BREAKWATER”BREAKWATER has its world premiere at Raindance — has he seen it on a cinema screen and does he see a theatrical run for the film?An interlude about the amazingness of Tom Cruise and his stunts;What does being a British filmmaker mean to him and how he thinks people think of that identity? “ the way I think about it is so massively influenced by British art and the sense of British independent filmmaking, which has historically produced so many amazing filmmakers”;How he is planning for the world premiere at Raindance;Max's Indie Filmmaker Highlights: Mark Jenkin, famously of BAIT (2019) and other films; Sarah BrocklehurstLinks:Buy Tickets To BREAKWATERFollow BREAKWATER On InstagramFollow BREAKWATER's WebsiteMax Morgan's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeIf you watch IN THE SHADOW OF BEIRUT (2023), you might get an idea about the director, and guess he has a cinematographer's eye for visuals and a humanist's approach to connecting with people. This episode proves that assessment right about director Stephen Gerard Kelly.IN THE SHADOW OF BEIRUT is described as "a portrait of modern-day Lebanon as seen through the eyes of four families living in the backdrop of an infamous massacre in 1982." It's visually stunning and Stephen calls it a "bit of an emotional juggernaut."It doesn't hold back, and neither does Stephen. If you haven't seen the film, go rent it, come back, and let's talk about one of the best films of 2023. In this episode, Stephen and I talk about:how he successfully utilized the cinematography of IN THE SHADOW OF BEIRUT to take his documentary to an extraordinary level of craftsmanship -- "I had been in New York for five years very much inspired by many great photojournalist and documentary photographers who would be in and around New York and I learned a lot"; his fluency in five (more?) different languages and does he see filmmaking as another way of communicating with the world? "How do you connect with the humanity in all of us? It's completely a language in its own right";what should people expect to see when they watch IN THE SHADOW OF BEIRUT? "It's a quality documentary that is a bit of an emotional juggernaut";his advice for moving from cinematography to directing -- "Open up. Trust people. It's a lonely road when you're walking alone for years";how did he blend in -- or not -- in a film about Lebanon? "Look at me, a red bearded, giant leprechaun" "It's about connection and being genuine with people and learning their language, which isn't easy";his feelings about the Oscars and the awards process in indie filmmaking -- he doesn't mince words! "Fuck the Oscars"; "As soon as I went into it and I saw the publicists turning their nose about the very meager budget comparatively that Screen Ireland offered up";the challenges of streaming and diluting independent filmmaking;what is he working on now and his process for filmmaking;fatherhood, the documentary film world, and how it influences his world and changed his perspective, especially on female filmmakers.Links:Watch IN THE SHADOW OF BEIRUT (2023) NowFollow Stephen On InstagramStephen Gerard Kelly's WebsiteWatch This Episode On YouTube 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: 29,000 WISHES. 1 REGRET (2012)Director: Oliver RobinsWriters: Oliver RobinsCast: Justus Zimmerman; Casey RuggieriSYNOPSISAfter losing their jobs, a husband (Justus Zimmerman) and wife (Casey Ruggieri) decide to max out their credit cards and have some fun, then commit suicide.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

Watch This Episode On YouTube The film, SPECTRUM (2024), directed by my guest, Rick Stanton, is a true triumph for art and sticking to one's own vision. As he said, “it's a very honest take on what life is like as an adult with autism.” Rick's path into filmmaking is unconventional and instead of paying endless amount of festival fees, he's forging a different path.In this episode, Rick and I talk about:what you should expect to see when you watch SPECTRUM -- "very honest take on what life is like as an adult with autism" -- it is an aural and visual experience;his wildly original way of filmmaking, casting his brother as the lead in the film;how he got his start in filmmaking, completely self-taught and through music;his desire to "show people that I could take on an episode for a series or even a feature film because I feel like I know how to tell a story";the decisions he made to make the viewer feel more uncomfortable than usual for a short film -- his insights here are extraordinary;what has been the festival reaction to the film and how he feels about the labeling of films -- he posted just on YouTube because "I just wanted to find an audience";why he is choosing to go off the beaten path in his career as an indie filmmaker and how other people feel about his decision;is he expanding SPECTRUM into a feature and his vision for expanding the scope of disabilities shown;how he is going to stay true to his vision for the film in making the feature -- "I don't wanna hear your opinion on it. I just wanna know whether you're gonna gimme the money"Rick's Indie Film Highlight: LIFT (2001) dir. by Marc IsaacsLinks:Watch SPECTRUM NowFollow Rick Stanton On InstagramRick Stanton's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

DC/DOX is about to celebrate its third year, and I chat with co-founder Sky Sitney about its origin story, celebrity documentary, AI in docs, the financial plight of doc filmmakers, and more.Befitting a powerhouse in the doc filmmaking world, Sky took on the most challenging questions and gave thought-provoking answers. It's no surprise with her leadership DC/DOX has become an international stop in the world of documentary in three quick years.In this episode, Sky and I discuss:the origin story of DC/DOX and how it become a staple of documentary filmmaking nationally after just three years;how she got involved in filmmaking -- "the question all my life was not so much would it be film, but what my specific passion within film would be" -- and why she loves curation;the necessity of experience in running film festivals to make DC/DOX work at the level it does and against an amazingly competitive landscape in Washington, DC;how does she balance celebrity documentaries versus emerging filmmakers;the financial plight of documentary filmmakers and her thoughts on second jobs (if you haven't heard Daniel Lombroso's take on this, you really should check it out);AI at DC/DOX;what does DC/DOX look like in five years?the amazing IT department at DC/DOX -- look at how easy it is to buy tickets!Links:Buy Tickets Now For DC/DOX June 12 - 15, 2025Listen to Huiju Park, director of WELCOME HOME FRECKLES at DC/DOXListen to Sasha Wortzel, director of RIVER OF GRASS at DC/DOXSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch The Video On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: GOD'S POCKET (2014)Director: John SlatteryWriters: Peter Dexter; Alex Metcalf; John SlatteryCast: Philip Seymour Hoffman; Richad Jenkins; Christina Hendricks; John TurturroSYNOPSISA boozy lowlife (Philip Seymour Hoffman) tries to bury the truth about his crazy stepson's suspicious death, but a nosy newspaper columnist (Richard Jenkins) and the young man's mother complicate matters.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

Go See WELCOME HOME FRECKLES at DC/DOX on June 14th, 12pmWatch This Episode On YouTubeWhat do you do when people question your style of filmmaking? If you know that the story is in your heart, as my guest Huiju Park did with her film WELCOME HOME FRECKLES (2025), you make your film your way. In a deeply personal tale about her return home to Korea for the first time in four years, that's what she did. We talk about that and so much more with this UK-based filmmaker, whose authenticity will astound you.In this episode, we talk about:how she got started in filmmaking and going home to Korea with a camera;why she decided to take on a personal documentary -- "self-expression"; "I tend to use my film as a therapy";what did her teachers think of her style of documentary -- "definitely, it's not really common...and I was using me as a character...to deliver the story"; "the whole film, the story, is universal; I see myself as a medium";does she introduce herself as a Korean filmmaker? what's her relationship with that label? -- "I'm trying to bring Korean cinema into the documentary world";her trip to Cannes (she attended a program called Focus COPRO') and why she attends film festivals;do programs like Focus COPRO help documentary filmmakers -- "I don't make films for making money because I know there's no money";what's it like working as a doc filmmaker in London? -- "I'm Korean Korean, I moved to the UK just for the school"; "after Brexit, the difference between European market and the UK market is really big, as much as American and European"; "in the UK, it's really tough";what's next for her -- "it's not about moving away from personal documentary, I've said enough";Huiju's Indie Film Highlight: THE ECHO (2023) dir. by Tatiana HuezoLinks:Follow Huiju Park On InstagramSee WELCOME HOME FRECKLES at DC/DOX Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeWith the baritones of Bono and U2 as the soundtrack, the globe-trotting world of Mary Robinson requires an epic film to depict her life, and thankfully, they found the director that can deliver just that in Irish filmmaker Aoife Kelleher.Aoife gave us the brilliant film MRS ROBINSON (2024), still on its festival run. MRS ROBINSON tells the inspirational life story of change-maker Mary Robinson: Ireland's first female President, a pioneering UN High Commissioner for Human Rights, and the successor of Nelson Mandela as Chair of The Elders.And if all that wasn't enough, check out her film, TESTIMONY (2025), also on the festival circuit. Not sure when Aoife has time to sleep but she found time to talk with me for the podcast, and I'm delighted to share that conversation with you.In this episode, Aoife and I discuss:her biographical statement that she seeks in her work to "tell hidden truths about Ireland and Irishness" -- what does that mean? what is an Irish film?;how did she get involved in filmmaking? "my parents were primary school principals and my dad was a politician so it was like, there were a lot of debates around these kind of themes at the dinner table";her switch from law to filmmaking -- "I'd had this work experience in a legal firm that had put me off the idea of pursuing law";what did she learn from her first documentary ONE MILLION DUBLINERS (2014) that she takes away for her current film?how did she get the opportunity to make MRS ROBINSON (2024), even with pitching against many other companies -- "you really can't stress [enough] how large Mary Robinson looms in Irish society";how she made it clear they weren't creating a puff piece documentary -- "from the earliest points in the pitching process, we made it clear that we would not be doing that, and that was what she wanted, too";how she was able to license U2 and other prominent musicians as part of this film (they were going to play "Fortunate Son" by CCR in a Vietnam scene...I think it worked out better with Bono!);the climate activism portion of the film and how it resonates now versus 30 years ago;how has documentary changed in the last ten years?;what's next for her? TESTIMONY (2025) is also on the festival circuit, which means she has TWO feature films on the circuit right nowAoife's Indie Film Highlight: BLUE ROAD: THE EDNA O'BRIEN STORY (2024) dir. by Sinead O'Shea; A WANT IN HER (2024) dir. by Myrid CartenLinks:MRS ROBINSON (2024) WebsiteFollow Screen Ireland on Instagram For More Info On Irish FilmmakersWatch This Episode On YouTubeSupport 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: BEFORE/DURING/AFTER (2020)Director: Stephen Kunken; Jack LewarsScreenplay: Finnerty SteevesCast: Finnerty Steeves; Jeremy Davidson; John Pankow; John Ellison ConleeSYNOPSISThis sharp-witted dramedy studies a middle-aged NYC theatre actress suddenly forced to figure out the kind of person she wants to portray in real life when her marriage comes to an end after she catches her husband cheating.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

Watch This Episode On YouTubeAs soon as RIVER OF GRASS (2025) starts, the viewer is given an astonishing sense of place, and according to my guest, director Sasha Wortzel, this is most certainly by design. The film -- "an ode to the Florida Everglades past and present" -- is an amazing piece of artwork that elevates its subject to a character all of its own. Wherever you watch the film -- perhaps at DC/DOX on June 14th, 2025 -- you are going to feel like you are in Florida.I'm not sure you're transported there during the podcast, but what I can certainly promise is you'll be hearing from an extraordinarily talented filmmaker. In this episode, Sasha and I discuss:how did she get the sense of place, the feeling of being in Florida, through sound and visuals, so right?how did she get the archival footage that makes up RIVER OF GRASS?"the more you know about the place, the louder the whispers become" -- how did she get so many insights from the people she interviewed for the film?how she became a filmmaker focused on "attend[ing] to sites and stories systematically erased or ignored from...[New York and Florida's] histories"did RIVER OF GRASS, a doc feature, feel like a natural progressive after making shorts?her advice for doc filmmakers -- "really hone in what is the story you want to tell and why";her film won a jury prize at Hot Docs; how does she approach the festival process?the importance of resilience in getting her film made -- "make bold choices with your work creatively";her roles as director, producer, and editor -- was editing important to her for this project?how she was able to get her voiceovers right -- "what really worked for the voiceovers in this particular film that it's a lot about memory";with this film, does she consider herself a climate filmmaker?what's next for her and when does she expect RIVER OF GRASS to be available for streaming -- she's "dreaming up a sort of live immersive performance version"Sasha's Indie Film/Filmmaker Highlight: THE RED SHOES (1948) -- available on Tubi!; THE TUBA THIEVES (2023) dir. by Alison O'Daniel; Ja'Tovia GaryLinks:Follow RIVER OF GRASS On InstagramFollow Sasha Wortzel On InstagramBuy Tickets To See River of Grass At DC/DOX On June 14th, 2025Watch This Episode On YouTubeSupport 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: UNTOGETHER (2018).Director: Emma ForrestWritten By: Emma ForrestCast: Jamie Dornan; Ben Mendelsohn; Jemima Kirke; Lola Kirke; Billy CrystalSYNOPSISOnce considered a teen prodigy, a recovering addict sobers up and tries to get her writing career back on track. She begins a relationship with a rising author known for his wartime memoirs.Watch This Episode On YouTubeSubscribe 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

Watch This Episode On YouTubeAs we move further away from the conventional wars in Afghanistan and Iraq, colloquially known as the Global War on Terror, the need for films like AMERICAN SONS (2025) is greater; it informs us, through powerful filmmaking, what we've lost.AMERICAN SONS follows a brotherhood of Marines a decade after their deployment to Afghanistan, as they struggle to overcome the trauma of combat and the loss of their best friend, Corporal JV Villarreal.I am joined today by director Andrew James Gonzales and producer Laura Valera for an important -- essential -- discussion for the Memorial Day holiday.In this episode, we discuss:the world premiere at SXSW and how they were able to make such an authentic film about fallen Marines;why they were drawn to documentary filmmaking -- "I've always been drawn to documentary because I appreciate the realism. I like real stories. I don't like this. There's a lot of great narrative Hollywood stuff, but I just don't like this fake, happy ending in every movie, right? - Andrew James Gonzales;what should viewers expect when they watch AMERICAN SONS -- "They should expect to see a very real veteran story" - Andrew James Gonzaleshow the film was funded and producer Laura Valera brought together a variety of different resources to make it happen -- "If you don't get money from a certain organization and you really feel that they align, make sure you call, get feedback, apply again. The other thing that I tell young filmmakers is offer to be a grant reader" - Laura Valerathe crucial difference between a director and a filmmaker -- "So a director directs the film versus a filmmaker does anything that they need to do to finish the film, which means you're taking on a role that you've never even done before, but because you have the vision of how to complete it." - Andrew James Gonzales;why don't we see more of these authentic veteran films in narrative? And with the release of WARFARE (2025) by another Latino director, is there something specific to the Latino experience in the military, perhaps with the emphasis on community, that highlights these kinds of stories?;what was the response to the film at SXSW?what's next for this film and the filmmakers?Laura's Indie Filmmaker Highlight: Tejanas In FilmLinks:AMERICAN SONS WebsiteFollow Andrew On InstagramFollow AMERICAN SONS On InstagramFinally, here are links to five soldiers I served with who died either in action or because of its aftermath, and I think about them often. There is this whole "inside baseball" amongst veterans that you should never wish a veteran Happy Memorial Day because it's a solemn event to honor our fallen, like somehow our friends want all of us to be eternally miserable every last Monday of May in honor of their sacrifice. It's petty when the meaning of the statement is kind and it creates a division between civilian and veteran that shouldn't be there, not on this day.Sidestep all that noise. If you do encounter a veteran on Memorial Day, say something like this: "I'm sure this is hard for you. If you're able, I'd love to hear a story about someone you've lost, just so I can understand the magnitude of our country's sacrifice."For me, I could talk about these guys all day. Enjoy the holiday.Cody BakerGil MoralesMichael McGahanRyan SartorJustin SchmidtSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeNatalie Halla, the award winning Austrian filmmaker of THE LAST AMBASSADOR (2025), among other films, found that her way of making the world a better place is making insightful and incisive films. In her latest, she tells the story of Manizha Bakhtari, who is "risking everything in her fight for the rights of girls and women in Afghanistan."It had its North American premiere at Hot Docs to a standing ovation, and Natalie is here to talk about her journey and her powerful filmmaking.In this episode, Natalie and I discuss:the reception of THE LAST AMBASSADOR (2025) at Hot Docs;how did she get the access to make such a film?;how did she get involved in filmmaking -- "I'm a total autodidact";what drives her to make documentaries -- "I see it as my mission";the idea of a "search for the ultimate value of life" -- how that is connected throughout her filmmaking -- "it's not about just staying alive, it's about finding something worth living for";how she made a documentary with so much done on the road;"let's shoot it; I'll find the funding later" -- how she started filmmaking;what advice she would give documentary filmmakers;why she goes to festivals like Hot Docs and what her strategy is for attending -- "I really love meeting fellow filmmakers, so film festivals [are] the best chance to do that";what is next for her? "I don't have the energy and time to start something new, this film has so much interest it will keep me occupied for awhile";what's it like as an indie filmmaker in Austria?Links:Follow Natalie On InstagramVisit Natalie'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: 12 MONTHS (2022).Director: Clinton CornwellWritten By: Clinton Cornwell; Elizabeth Hirsch-Tauber; Michael James KellyCast: Elizabeth Hirsch-Tauber; Michael James Kelly; Christopher Mychael WatsonSYNOPSISA hyper-realistic diversion from the usual rom-com, 12 Months candidly portrays moments that are commonly experienced but rarely shown as it follows the story of Ellie and Clark, a millennial couple, navigating the peaks and valleys of new relation.Watch This Episode On YouTubeSubscribe 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

Watch This Episode On YouTubeWriter, filmmaker, actor...and activist Ben Steinberg joins me to talk about his campaign to save the Cinerama Dome and his filmmaking, most recently HIKIKOMORI, a surreal short film you have to see to believe.In this episode, Ben and I talk about:how he got decided to get into film and acting;his campaign to save Cinerama Dome in Los Angeles;why should indie filmmakers care about theaters when most films are streamed?;how he made the surreal short HIKIKOMORI (inspired by THE LOBSTER, one of my favorite films);what's next for him, possibly a documentary on saving the Cinerama Dome ("I just need to stay organized and contact like media outlets and just see if they're willing to report on it because so far, not really, no one's really reporting on it");what does it say about the state of filmmaking when even Oscar winners are having trouble getting their projects made.Ben's Indie Filmmaker Highlight: Vince Di Meglio Links:Follow Ben Steinberg On InstagramFollow Ben Steinberg On TwitterFollow Save Arclight Cinemas! On TwitterSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content