First Time Go

It's hard for me to conjure up another word for Joecar Hanna's award-winning short films, DELIVER ME (2003) and TALK ME (2025), other than: masterpiece. They push the boundaries of cost, intimacy, and what the medium itself can deliver. If you're able to see them -- maybe reach out to Joecar on social media and be nice, it might work -- do so. Near the end of the episode, he gets to an important point: intimacy content still hasn't been taken over by AI.What a unique filmmaker here today for the podcast; director/writer/actor, even willing to work blue, Joecar Hanna.In this episode, Joecar and I discuss:what it's like having masterpieces of short films unavailable for viewing;if there's a part of filmmaking that doesn't appeal to him;how he got started in filmmaking and why he decided to get his MFA at NYU;telling "your story" if you don't have a story to tell;changing "find your voice" to "find your perspective";how to think of his last two films with similar names;his ability to pull off so many things with his films -- art department, makeup, intimacy coordination -- with so little money;the focus of his art at the intersection of intimacy and love;the amazing story (and Spike Lee's encouragement) about him acting in intimate scenes;why so many filmmakers shy away from the level of intimacy that's in his projects;if he's happy with NYU's focus on top festivals and his recommendations for others;what people are looking for in films if it's not quality?his next project and how people should approach film festivals.Joecar's Indie Film Highlights: AFTER THIS DEATH (2025) dir. by Lucio Castro; DRUNKEN NOODLES (2025) dir. by Lucio Castro; THE MAN FROM EARTH (2007) dir. by Richard SchenkmanMemorable Quotes:"And they always tell you to keep it private and to preserve the status and all this kinds of things, right? That, for a short, I sometimes wonder really if it's necessary.""Racism in Europe -- in particular, Spain -- is completely different to how racism could be here, right? It's more invisible. It's more like little details.""Do I need to go to film school? And the truth is I could focus while I had all the other crafts, I could focus on the last one that I needed to train, which was writing." "How can I tell this story and can I condense when I don't have tools or I don't have money." "When you're in film school and you have many people helping you, obviously they're not getting paid.""For TALK ME, I had to go back and ask every single person I knew for the last 20 years favors.""I really like to talk about what I call little prisons of, or cages, from people...that we like to put ourselves in.""They have to know me and they have to know that I'm not a creepy person that is just...trying to get everyone naked.""There's 300 people in this room seeing our butts right now." "When I won TIFF, no one called me next day." "We can't be too precious about what we have.""Even if you go to Sundance Labs right now, you can find people struggling with financing. You better hurry.""Good thing for now is the [AI] limitation with intimacy content is not allowing people to do that yet."Links:Follow Joecar On InstagramJoecar HannaSupport 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: BUNNY (2025)Director: Ben JacobsonWriters: Mo Stark; Ben Jacobson; Stefan MarolachakisCast: Mo Stark; Ben Jacobson; Liza ColbySYNOPSISOver one wild summer day and night in their East Village tenement, streetwise hustler Bunny and his friend Dino scheme with a crew of eccentric neighbors to cover up a dead body. Chaos reigns as the clock ticks and the heat rises.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

Considering most of the episodes now from the previous three seasons are under paywall, the first episode of the New Year simply has to be excellent. It's what listeners throughout the year probably will listen to first, and thankfully, I found a guest that absolutely exceeds any expectation a listener might have when they click play: director Robert Kolodny of THE FEATHERWEIGHT (2023).If you google Criterion Collection, Robert's name, and Reddit, you'll get the comment I reference here about how he's going to be a "GOAT filmmaker in a couple of years, up there with Scorsese, Anderson, Fincher. Just watch."I didn't write it, but I wish I had.In this episode, Robert and I discuss:the obsession of what's next, from filmmaking to college football, and what that means for directors;how he got his start and his incredible preparation work of watching films for his craft;how he watches other films and his thoughts on film criticism;what he learned on his 14 year path from cinematography to directing his first feature;what he's looking for in terms of working on a project;the genesis of THE FEATHERWEIGHT and what people should expect to watch;how he came up with the style of the faux documentary for the film;the invented crew members for the film to help the actors;why there are so many siblings in independent films;whether indie filmmakers can go too far in pretentiousness;if THE FEATHERWEIGHT felt like a documentary while filming and his thoughts on the genre;AI in indie films;the incredible score in THE FEATHERWEIGHT and why the music was so important for the film;the casting process and the BAND OF BROTHERS (2001) connection;the underrated nature of this film;what he'd do differently for the release strategy of the film;what's next for him.Robert's Indie Film Highlights: PREDATORS (2025) dir. by David Osit; ZODIAC KILLER PROJECT (2025) dir. by Charlie Shackleton; EEPHUS (2024) dir. by Carson Lund; PETER HUJAR'S DAY (2025) dir. by Ira SachsMemorable Quotes:"My philosophy has always been, in order to be a filmmaker, you have to be a working filmmaker. Now that doesn't just mean being a technician, but it does mean putting the hours in and looking at what contemporary cinema is and trying to be attached to it in as many meaningful ways as possible.""I've been incredibly privileged that there's never really been a time in my life where I did not know this is what I wanted to do.""I keep...a very extensive spreadsheet...it's December 11th that we're recording this. I have watched 362 movies in the year 2025 so far. And I'll probably get up to 380.""Will it be able to...hold the amount of prestige that I am attributing to it? That I believe that it deserves. You're like a parent waiting for your kid to get into college.""Do I think that some kind of digital actor is gonna give a better performance than a real actor? I would rather boil myself in a pot of soup than even consider such a ridiculous question.""There's a ton of music in the film but most of it is hidden. I could see people watching the film and being like there's just that one song at the end, which is not true." Why the music was so important to him: "It's partially because I'm an insane person. And partially because, you're working in a period piece, right? The film takes place in 1964 and then intermittently in 1941. And if we're going to sell the idea of this is a documentary that was made half a century ago, how are we gonna stand up and believe in that?""The originator of the idea of making this movie about Willie Pep was James Madio.""Despite people being like, oh, there's no good movies out. That's a fucking lie."Links:Follow Robert On InstagramWatch THE FEATHERWEIGHT On MubiSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Happy New Year! The perfect way to end the year is with director John-Michael, or JM, Powell, and his genre thriller, VIOLENT ENDS (2025). In this episode, JM and I discuss the astonishingly moody cinematography -- the deer scene and a shootout will stay with you way after the film; his journey through film school and a grant that made this film possible, and his steady and sure approach to indie filmmaking.And let me add: VIOLENT ENDS is a perfect New Year's Eve film. Let the shootouts remain on the screen, grab a bottle of champagne, and welcome in the New Year with filmmaker JM Powell.In this episode, JM and I talk about:the incredible moody setting of VIOLENT ENDS and how setting portends to great filmmaking;how he got his start in filmmaking;whether you should go to film school;the story behind his first feature, THE SEND-OFF (2022);why he loves the Calgary International Film Festival;how he managed fatherhood and his advice for people having kids in the indie film space;the grant that made VIOLENT ENDS possible and his views on using film to shoot it (which was made impossible by a very mundane reason!);what people should expect to watch with VIOLENT ENDS;the moody cinematography, including whether the deer was real and more about the insane shootout scene near the end;how to handle both fantastic and negative reviews as a filmmaker;the vote of great actors on a particular project;what's next for him.JM's Indie Film Highlights: THE LAST STOP IN YUMA COUNTY (2023) dir. by Francis Galluppi; TOUCH ME (2025) dir. by Addison HeimannMemorable Quotes:"There's so many movies that take place in New York, but the good movies feel specific to that writer and that filmmaker.""I went to school in Dallas Fort Worth, so I think a lot of the people aspire to do like commercial work in Dallas.""I'm very much that personality where I'm...give me a problem and I'll figure out how to solve it.""Anywhere you can find yourself where you are orbiting and brushing up against story because story is everything.""You can create your own AFI community on YouTube.""In some ways, I think, micro budget, independent distribution is obsolete.""What matters to me more than shooting on film is capturing a good story.""I don't think most people are consuming film criticism. I think most film criticism, especially for cinephiles now lives on like Letterboxd...Rotten Tomatoes obviously, too, is a valuable asset. But these platforms cater to clickbait headlines and taglines that for better or worse...that has influenced our cinema discourse and our film criticism."Links:Follow JM On InstagramWatch VIOLENT ENDSSupport 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: GRAND TOUR (2024)Director: Miguel GomesWriters: Telmo Churro; Maureen Fazendeiro; Miguel GomesCast: Gonçalo Waddington; Crista Alfaiate; Cláudio da SilvaSYNOPSISEdward, civil servant, flees fiancée Molly on their wedding day in Rangoon, 1917. His travels replace panic with melancholy. Molly, set on marriage, amused by his escape, trails him across Asia.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

Merry Christmas and happy holidays from the new classic (if that's a thing) CHRISTMAS, AGAIN (2014) and director Charles Poekel. He's hosting screenings ten years on for the film, saying it's found a new audience, and it's easy to see why. The film captures Christmas in New York City -- or at least what it looks like in reality versus postcards -- and starred talent that exploded in the indie film scene in the last decade.It's the perfect time to catch up with its director.In this episode, Charles and I discuss:what makes a great Christmas film and why CHRISTMAS, AGAIN fits that bill;how he got involved in filmmaking;the truly insane story of creating your own tree stand and running it for FIVE years as a gateway for the film;how the film is a great case study for his students;how the film heralded so much great indie film talent for the subsequent decade;that film v. digital is such a project-specific question;who should be attending film school?the "everyone is a filmmaker" phrase and what that means for students and emerging filmmakers;what's next for him and avoiding cultural references in a film so that it ages better, especially for Christmas films.Charles' Indie Film Highlight: OBEX (2025) dir. by Albert BirneyMemorable Quotes:"Every year there's a little bit of bump in people who discover it.""People really appreciate the familiarity of Christmas tree sellers in New York." "There'd be a lot of complications trying to shoot a film like this at somebody else's Christmas tree stand." "And then the third year we shot the film at the Christmas tree stand while it was open. So we had people working there selling trees while we were shooting. Our actors would stop and sell trees if customers came up right.""I was working documentaries. I'd never made a feature. I hadn't even made a fiction short since college at this point. My boss very smartly at the time was like, don't make a short, make a feature. And I was like I don't even know what I'm doing.""And I've shot some stuff on an iPhone and even if someone gave me a million dollars, I wouldn't have shot it on 35 because it just wasn't the right thing to do." "Shooting on film is more than just like an aesthetic look of a one frame versus another frame.""Especially with cinephiles, we all kinda approach this as like, film is a holy thing that we have and let's treat it that way."Links:Follow Charles On InstagramWatch CHRISTMAS, AGAIN (2014)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: CHRISTMAS EVE IN MILLER'S POINT (2024)Director: Tyler TaorminaWriters: Eric Berger; Tyler Taormina; Kevin AntonCast: Matilda Fleming; Francesca Scorsese; Maria DizziaSYNOPSISA family gathers on Christmas Eve for what could be the last holiday in their ancestral home. As the night wears on and tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own.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 the film FLATHEAD, currently streaming on IndiePix Unlimited, and let me know what you think. It took home awards from the International Film Festival Rotterdam, among others, because it's like nothing you've seen before. It tells the intimate tale of Cass and Andrew making their way in working class Australia.In my discussion with director Jaydon Martin, we delve into what is truly fiction in a documentary; his work at moving furniture to support his vision; and his advice for indie filmmakers embarking on their first feature.It's astonishing filmmaking from the Australian, and I cannot wait to watch what's next.In this episode, Jaydon and I discuss:the North American premiere for FLATHEAD and why he decided to make such an intimate film about his characters;how an award for the film at the Melbourne International Film Festival allowed him to stop moving furniture at night;finding his filmmaking system that works for him;how his career prepared him for FLATHEAD and his views on the concept of fictionalization in documentary;the unique docufiction nature of the film -- it's like nothing you've seen before;the dilemma about truth and how the film would be different if he had gone to film school;film v. digital;whether he'd use AI or not;the importance to him of the International Film Festival Rotterdam and how he views Australia's place in the world;whether the Australian government can do more;how indie filmmakers should view their careers;what's next for him and his advice from the festival run of FLATHEAD.Jaydon's Indie Film Highlight: SONG OF ALL ENDS (2024) dir. by Giovanni C. LorussoMemorable Quotes:"A lot of working class cinema or just media in general, it's always from a distance." "That was all just, talking through and establishing trust and establishing a relationship where, you go, all right, we want to do an intimate scene. And Cass was like, yeah, just, come in boys in the morning, I'll be stark naked.""That award has set me up. I'm working on two features right now.""I think sometimes you get into a trap if you try to work for industry jobs, you get burnt out. If you sat in an edit room four days a week, it's hard to jump into your own edit." "Mindless work is great because it's you can think about anything. You can dream away while you're moving a desk, moving furniture.""That's how you capture intimacy because if there's three people, two people there, the camera just fades away eventually after a while." "I've got a version of myself which is different to my partner's version of me or my friend's version of me or someone I work with. I've got different versions of myself in this world. Which is the most truthful version of yourself?""I'm a big believer in trying to create an aesthetic of now rather than an aesthetic of nostalgia.""People get wrapped up about...this nostalgia about the tools.""And realistically, I can't pitch an idea, go, all right, can you gimme money? And two years later I'll have something to show you.""For any young filmmakers, I think EPs (executive producers) help a lot as well. Getting good eps that can get your film in front of programmers."Links:Watch FLATHEAD On IndiePix UnlimitedFollow Jaydon On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I'm so happy to return to the roots of the podcast by talking REQUIEM FOR A SOLDIER with filmmaker Jeremy Musher, currently crowdfunding on Seed & Spark. It is the story of a "Vietnam veteran who in his last weeks of service, found a Vietnamese soldier's diary, and 56 years later returned it to the soldier's family." We talk war films, fatherhood and filmmaking, and his sweeping vision for a topic that doesn't get as much love as it should: Vietnam veterans. And this film has the added pleasure of showing the Vietnamese perspective.Let's get REQUIEM over the line. Happy holidays.In this episode, Jeremy and I discuss:the crowdfunding video and how he describes REQUIEM FOR A SOLDIER;what defines a good war film;why REQUIEM is a documentary rather than a narrative project;why they decided to crowdfund the film and use Seed & Spark specifically;the landscape for grants right now;the 60 day length of their campaign versus shorter options;the visual style he brings to documentary filmmaking and why they are weaving animation into the story;what he wishes existed for parents and fathers on film sets;the next few months for the film.Jeremy's Indie Film Highlights: THE ZONE OF INTEREST (2023) dir. by Jonathan Glazer; LITTLE DEATH (2024) dir. by Jack BegertMemorable Quotes:"The interview we did with him to shoot this kind of teaser was a seven hour interview, and Peter just has story after story.""It is the story of a Vietnam veteran who in his last weeks of service, found a Vietnamese soldier's diary, and 56 years later returned it to the soldier's family.""I feel like financing a film is harder than actually making the film."About one of the subjects of the documentary: "He struggled with a lot. He struggled with PTSD. He was an alcoholic, he was homeless, divorced arrested, and never lost the diary.""I've never done a crowdfunding campaign before and I've always pushed it off until I found a project that I really cared about.""[Animation] works so well for war...because I think that war is probably one of those things that you can't really understand unless you've lived through it and as somebody who hasn't lived through it, it's hard to ever fully understand it. I think love is honestly on that same spectrum.""It is a really hard industry...to have kids in, be a filmmaker and to have kids in our industry. You get locked in to staying local. And I think there's a reason, Terrence Malick took 20 years off of being a filmmaker so he could watch his, so he could actually raise his children."Links:Donate To REQUIEM FOR A SOLDIERFollow REQUIEM On InstagramFollow Jeremy 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: THE BROTHERS MCMULLEN (1995)Director: Edward BurnsWriter: Edward BurnsCast: Jack Mulcahy; Michael McGlone; Edward BurnsSYNOPSISThree Irish Catholic brothers from Long Island struggle to deal with love, marriage, and infidelity.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

Surely he didn't know it then, but his work in media in China made my guest, filmmaker David Borenstein, the perfect person to direct MR NOBODY AGAINST PUTIN (2025). It's a fantastic film following a Russian teacher "secretly documenting his school becoming a war recruitment center during the Ukraine invasion."What David and especially his co-director, Pasha TAH-LOHN-KIN, did was make a film at great personal risk because it's so cutting towards the Russian authoritarian regime. And astonishingly, as David shares in the podcast, he wants to do more of these stories in repressed societies.Thank God there are people like David and Pasha. Denmark's nominee for best international film at the 2026 Oscars is an absolute gem.In this episode, David and I discuss:the simplicity of the documentary and whether the overwhelmingly positive reaction surprised him;how he got started in filmmaking and his familiarity with heavily propagandistic societies;the difference between journalism and documentary filmmaking (he has an incredible answer here);the debates with his co-director about the concept of propaganda;how cool it would be to see a documentary or podcast on the making of MR NOBODY;logistically, how did the film happen?;how his co-director became knowledgeable behind the camera;advice for anybody interested in doing a project like this, especially when you aren't in the same place as your co-director!;how he edited the project and who got the line credit for it;how we can better support filmmakers in places like China and Russia;when the film will be available for streaming and the challenges of finding distribution in the United States;the clash between US and Europe distributors for documentary films;what's next for him.David's Indie Filmmaker Highlight: Nathan FielderMemorable Quotes:"The co-director, he actually responded to a casting call in the beginning. So in the beginning, we were filming him as a character.""The very first time that I was involved with cameras of any sort was actually as a Chinese speaking host on Chinese TV.""if you are a quite fluent foreign speaker of Chinese living in China, they'll find you after a while. You are a curiosity to Chinese audiences.""[John Grierson] defined documentary in a very special way. He didn't define it as journalism per se. He actually called it the propaganda of democracy.""There were so many points where I thought about quitting or walking away 'cause it was so hard. But don't give up." "The way I work with editors is I make a rough cut myself and then I deliver it to editors to work for a little bit of time to challenge me." "I think it's really important as director to be generous.""[The film] is resonating with people in Russia and not necessarily people who are already part of the Russian opposition.""I'm still really interested in getting into the big kind of countries that we don't understand enough, Russia and China."Links:Follow David On InstagramFollow MR NOBODY AGAINST PUTINSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

There's no hyperbole in this statement: my guest, native New Yorker and founder and managing principal at East End Capital, Jonathon Yormak, influences independent filmmaking more than any other guest I've had on the podcast. East End will have over 2.5 million square feet of studio space under management at the opening of his fifth studio in Los Angeles.So not only does that space support a number of studio-level productions, the talent that works there is your next audio engineer, gaffer, cinematographer, or director...if New York and California remain friendly to U.S.-based production.A big if...and a big topic in this extraordinarily special -- and important -- episode of the podcast.In this episode, Jonathon and I talk about:what drew him to developing five different studios across Los Angeles and New York;the recent history of real estate/TV + film production, including the opportunities available in New York City;the role of COVID in building out the new studios;the expectations vs. reality of building in the entertainment world;the economics of building studio space after the strikes;competing for business, in the United States and abroad;the kinds of business his studios attract and why a production might choose one stage over another;the future of AR/VR and AI in studio space;how he stays current on news in this space;what he advises the New York City mayor and California regarding the film business;how he'd love Quentin Tarantino or Steven Spielberg to use one of his facilities.Memorable Quotes:"if you really look back the intersection...between real estate and film and TV production, it really began with Netflix and their explosion into digital content distribution and then spending an enormous amount of money directly on content creation.""And so by 2018, 2019, you also had Apple and Amazon that had both started to get into the game. And in a couple of instances, Amazon in particular had leased some space for ten year terms. And so what you started to see was that occupancy was well north of 90% in almost every sound stage in the United States. And on top of that, there really had been no new development, with the exception of Atlanta, of new best in class film and television sound stages in the US for 25 years.""To build anything in California takes forever." "What happened is, the strikes hit and at the same time, Wall Street was putting pressure on all of the streamers to figure out how they were making money.""So they started to go to places...that had very favorable tax incentive regimes. So those would be...the UK, Ireland, Canada in particular.""Our view of [AR/VR/AI], it actually is supportive of higher stage occupancy.""So if you wanted to film in Times Square, you had to actually go to Times Square. You wanted to film in front of the Eiffel Tower, you had to go in front of the Eiffel Tower. In facilities like ours, where you can get the height and the distance away from them, you can film that in a sound stage.""From AI...being able to make a movie. I still think that, the human element...it's not from everything I'm seeing, it's just not able to capture that well."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: CHRISTMAS, AGAIN (2014)Director: Charles PoekelWriters: Charles PoekelCast: Kentucker AudleySYNOPSISA heartbroken Christmas tree salesman returns to New York hoping to put his past behind him. He spends the season living in a trailer and working the night shift until a mysterious woman and some colourful customers rescue him from self-destruction.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 I went back and edited this episode with my guest, filmmaker Tom Koch, I realized: he's doing a color series of films! To put that much thought into his work as well as have the creative control to name his films is the perfect way to describe Tom: extraordinarily thoughtful, humble, and a guy capable of doing anything in his films: acting, writing, directing, accents, ballet even!His latest film, OLIVE (2025) is an absolute treat -- the logline "while caring for grandma, Sam, the character played by Tom -- begins to question the nature of their relationship" -- and it shows his mastery of the craft. He even knows war films, which is my unique quality. If he ever gets into indie film podcasting, I can't say I wasn't warned about how great he'd be.In this episode, Tom and I talk about:save some talent for the rest of us, Tom -- acting, writing, producing, directing, ballet?!;how he got started in acting;how his approach evolved from ORANGE (2024) to OLIVE (2025);writing a script and playing a character you weren't expecting to play;when writing, directing, and acting becomes a bit too much in indie films;the challenges of casting in a world that cares more about celebrity and follower count than actual talent;how much being a stage actor matters;what does he look for in actors when he's casting his own projects;the best way to think about OLIVE before watching;what excites him about "telling stories with a twist", the motto of his production company;the festival circuit for his films and what advice he has for film festivals;what he's working on now and when people can expect to see OLIVE;whether we'll see him behind a camera and his great eye for war films.Tom's Indie Film Highlight: AMOUR (2012) dir. by Michael Haneke; THE PIANO TEACHER (2001) dir. by Michael Haneke; THE WHITE RIBBON (2009) dir. by Michael Haneke; WARFARE (2025) dir. by Ray Mendoza; Alex GarlandMemorable Quotes:"Nobody saw a stage play or school play of mine...when I was seven and said, oh, that kid.""The big thing that I changed for OLIVE was that ORANGE was really a proof of concept." About acting in OLIVE: "And there was a part of me that thought it would make things easier because I didn't have to find an actor and I didn't have to tell them what Sam was, in a way.""Sadly we're in a world now where we're competing with so many different productions and so many different artists, and funding for film is getting a bit harder because I don't know if people trust the medium as much as before."More about acting: "It's one of the only jobs where people get placed in it out of nowhere when it requires so much training and people go to school for four years to...get better at acting and do like classical work. You would never do that with an athlete.""I don't think it's necessary to do stage to be a great screen actor.""You can take a little bit more liberties with a short...people are not really behind your butt saying oh, you can't write this, you can't write that. Oh, you have to change the ending because you're you're doing your own thing. So it's perfect for that.""It's a very hard and tedious process where the cards are not in your hands and you work for a year on something that you create with a group of people. You put it on a Vimeo link and you pray.""They've watched thousands of films and they picked a few, and they're like, go watch those.""I feel like the more I act, the better director I can become."Links:Follow Tom On InstagramFollow OLIVE On InstagramWatch ORANGE NowSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if I've met a more accomplished yet depreciatively humble filmmaker than my guest, Conor McCormick. Here are the facts, though: he was admitted as one of the few to the Square Peg Social, a program set up by Ari Aster and Lars Knudsen "break down the walls and barriers that too often exist within the film industry." (There's a bunch of Reddit threads that speak to how hard this was). His films, most recently BUNKER BABY (2024) and FOR THE CURE (2025), speak to the current state of masculinity in a way that is sorely needed in today's film world.Another way of saying all this, much more succinctly, is that I have an Irish filmmaker on the podcast. And not just any -- one of the country's brightest new stars.In this episode, Conor and I discuss:what drew him to the topic of male existential crises in his filmmaking;the "write what you know" argument;how he got started in filmmaking;what it's like going to film school in Ireland;getting his career started after film school;his selection into Square Peg Social, a new initiative by Ari Aster and Lars Knudsen;the collaborative nature of Square Peg;shout out to filmmaker Shelly Yo, another participant in Square Peg and an all-time favorite guest of the pod, who connected us (if you haven't watched SMOKING TIGERS...now is the time!);what it means to be an Irish filmmaker;where audiences can watch Irish films;what he noticed about the filmmakers selected for Square Peg;if film festivals can foster more of a collaborative environment like Square Peg;his special affinity for Austin, Texas;what's next for him;the amazing market for short films on airlines, including Aer Lingus, and the future for the medium (I didn't know Vimeo Staff Picks were not available in Europe).Conor's Indie Film Highlight: JUNIPER (2021) dir. by Matthew J. Saville; HUNTER GATHERER (2016) dir. by Joshua Locy; SMOKING TIGERS (2023) dir. by So Young Shelly YoMemorable Quotes:"it was just trying to tap into people in their late thirties who are...trying to figure that out. And I feel like...it's quite a universal experience right now is that we're all moving further on in life than our maybe our parents' generation before us and not as well set up and the sort of anxiety that comes around that.""When you go international like that, I think you just realize the bar in terms of how good some of these films are.""I think another thing that really helped is we all got to watch a sample of each other's work before we all met."About the films selected at Square Peg: "It was...a varied mix of people. And if anything, it felt like it was more story first.""You certainly have gone to some festivals where you go, you show up, screening ends, everyone disperses, and then you're like, all right...we're in a new city somewhere, we've traveled and now we're just gonna go to the pub by ourselves or something."Links:Follow Conor On InstagramConor McCormick's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if I've met a more accomplished yet depreciatively humble filmmaker than my guest, Conor McCormick. Here are the facts, though: he was admitted as one of the few to the Square Peg Social, a program set up by Ari Aster and Lars Knudsen "break down the walls and barriers that too often exist within the film industry." (There's a bunch of Reddit threads that speak to how hard this was). His films, most recently BUNKER BABY (2024) and FOR THE CURE (2025), speak to the current state of masculinity in a way that is sorely needed in today's film world.Another way of saying all this, much more succinctly, is that I have an Irish filmmaker on the podcast. And not just any -- one of the country's brightest new stars.In this episode, Conor and I discuss:what drew him to the topic of male existential crises in his filmmaking;the "write what you know" argument;how he got started in filmmaking;what it's like going to film school in Ireland;getting his career started after film school;his selection into Square Peg Social, a new initiative by Ari Aster and Lars Knudsen;the collaborative nature of Square Peg;shout out to filmmaker Shelly Yo, another participant in Square Peg and an all-time favorite guest of the pod, who connected us (if you haven't watched SMOKING TIGERS...now is the time!);what it means to be an Irish filmmaker;where audiences can watch Irish films;what he noticed about the filmmakers selected for Square Peg;if film festivals can foster more of a collaborative environment like Square Peg;his special affinity for Austin, Texas;what's next for him;the amazing market for short films on airlines, including Aer Lingus, and the future for the medium (I didn't know Vimeo Staff Picks were not available in Europe).Conor's Indie Film Highlight: JUNIPER (2021) dir. by Matthew J. Saville; HUNTER GATHERER (2016) dir. by Joshua Locy; SMOKING TIGERS (2023) dir. by So Young Shelly YoMemorable Quotes:"it was just trying to tap into people in their late thirties who are...trying to figure that out. And I feel like...it's quite a universal experience right now is that we're all moving further on in life than our maybe our parents' generation before us and not as well set up and the sort of anxiety that comes around that.""When you go international like that, I think you just realize the bar in terms of how good some of these films are.""I think another thing that really helped is we all got to watch a sample of each other's work before we all met."About the films selected at Square Peg: "It was...a varied mix of people. And if anything, it felt like it was more story first.""You certainly have gone to some festivals where you go, you show up, screening ends, everyone disperses, and then you're like, all right...we're in a new city somewhere, we've traveled and now we're just gonna go to the pub by ourselves or something."Links:Follow Conor On InstagramConor McCormick'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: THE FEATHERWEIGHT (2023)Director: Robert KolodnyWriters: Tyler Taormina; Eric BergerCast: James Madio; Ruby Wolf; Keir GilchristSYNOPSISIn 1964, a camera crew follows retired featherweight boxing champion Willie Pep. Down and out in Hartford, Conn., married to a woman half his age and facing mounting debts, Pep decides to return to the ring.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

The pod's annual thank you edition episode.Thank you to the guests. There wouldn't be a show without you. I am grateful you are willing to take the time to talk about your career. I hope through my preparation I show my appreciation for you.Thank you to the listeners. The podcast started as a way to get a documentary made and has grown almost every month. I spend a lot of time editing so every second is hopefully something worthwhile for you. Let me know how I can improve.Thank you to my wife, son, and family. I appreciate your patience with me while watching another weird film or "hold on, I'm editing." I absolutely cannot wait to talk indie kids' films.This is such a blessing to do this and I'm grateful for all of you. Thank you.Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

I am very much aware of the fact that I make the occasional podcast about films that listeners can't just stream, even though I wish so badly you could. The short film, MERCY, by my guest, director Hedda Mjøen, is a film like that -- it shows the moral dilemma of a woman who has to choose whether she stands by a friend accused of rape. I endeavor that the essence of the film comes through on the podcast, so if I can't show it to you, I can paint a picture about what you're seeing.But when it's available in January or February 2026, you have to see it. And you can talk to me about it because I'll still be thinking about such a beautiful film.In this episode, Hedda and I discuss:why her film MERCY will stay with you long after watching;the story behind the film and how much was drawn from real life;what drew her to filmmaking and how MERCY turned into a short filmher focus on "ethical dilemmas", "controversial topics", and whether we'll see one of those in a romcom;how she casted the film in a way that let the audience identify with the characters;what lessons she took from this film;the importance of female directors and the low percentage in studio films;the reaction to the film on the festival circuit;independent filmmaking in Norway;what she's working on next -- including what it's like in a trial in Norway and their very different judicial system;if she's happy with the translation of the title (and no dubs!) for her films.Hedda's Indie Film Highlight: LOVABLE (2024) dir. by Lilja Ingolfsdottir; THE INNOCENTS (2021) dir. by Eskil VogtMemorable Quotes:"I love to make something that's thought provoking and that sticks with you and maybe makes you think about your morals or your friendship, or your loyalty, or the choices that you make.""You just have to make sure that you have a really good translator to make the subtitles.""Usually when you have stories, the more specific they get, the more they hit home for the audience."Links:Follow MERCY On InstagramFollow Hedda 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: HAM ON RYE (2019)Director: Tyler TaorminaWriters: Tyler Taormina; Eric BergerCast: Haley Bodell; Audrey Boos; Gabriella HerreraSYNOPSISA bizarre rite of passage at the local deli determines the fate of a generation of teenagers, leading some to escape their suburban town and dooming others to remain.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

If I told you just five words, it is a spy film, your mind would go to either action packed or maybe campy. Would you really think about a psychological thriller? And if I told you the film won a prestigious French award for best first film, how does it sound when the director says he made a foreign film? Contradictions abound with my guest Jonathan Millet's film, GHOST TRAIL (2024). One thing it is in any description is a cinematic gem. Currently streaming on Mubi, it expands the genre in ways you won't see coming. And the absolute best part? The director is even more interesting than the film.In this episode, Jonathan and I talk about:what it was like winning the Louis Delluc Prize for Best First Film in 2024;his traveling to 50 countries and how he learned he was good at filmmaking;what he noticed about cinema in each country and French cinema-going;how GHOST TRAIL came about and why it was originally envisioned as a documentary;what he wants people to know before watching the film;why he never showed torture in the film and how he created a film with such depth;how he created a playable video game to be incorporated into the film (!);the crazy distribution process and whether it came up whether he needed to add action to the film;how he found such a capable actor in Adam Bessa, who had to plausibly be a spy, English professor, and torture victim in the film;his research process for making a spy film;France's reaction to the film;is France a great place for filmmaking?how important it was for him that GHOST TRAIL is viewed as a foreign film;what's next for him;how he feels about the pace of making new films.Memorable Quotes:"All the masters, the big directors I loved at this time as a classical, for example, they all arrived in cinema with another background. They all study something else and they bring it to cinemas.""And they were looking for remote countries in war countries with trouble. And I was looking for it as well. So it was my screwup cinema actually.""What I really love is to consider a film as an experience.""The best co-writer for the film was reality.""My producer said it would be cheaper to do that than buy Call of Duty rights.""The editor of GHOST TRAIL is also the editor of ANATOMY OF A FALL (2023). And he's a great editor and he say I need time. It's not about being slow, it's just that if I have 10 weeks to edit a movie, I could do it, but if I have 20 weeks, I could try things and maybe some incredible outstanding idea will appear. Jonathan's Indie Film Highlights: LA LIBERTAD (2001) dir. by Lisandro AlonsoLinks:Watch GHOST TRAIL (2024) on MUBISupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

By the standards of twenty years ago, it is easy to have a film look "gorgeous." So indie filmmakers can't rely on equipment alone to set their films apart. It takes the work of true craftspeople, one of which is my guest, filmmaker Taylor Lee. In October, Taylor was the recipient of the NYU 2025 Grad Film Volker Bahnemann Award for Outstanding Cinematography.His story is an extraordinary one -- majoring in computer science at UCLA in 2020 to some of the most prestigious student awards and fellowships in filmmaking. How did he get there? Let's find out.Also, watch LAYOVER before listening. A Vimeo Staff Pick, it will be with you for awhile.In this episode, Taylor and I talk about:what surprises him in short films now;his reaction to winning the 2025 Grad Film Volker Bahnemann Award for Outstanding Cinematography;his amazing story of pivoting from software engineering to filmmaking;his film viewing background before beginning graduate school and did it help or hinder his start;his contentment with film school (versus YouTube) and what he would tell a software engineer thinking of making the same leap he did;what drew him to cinematography;how he chooses which directors to work with;how he describes his own visual style;why he didn't shoot his directorial debut;what it was like as a writer/director vs. cinematographer or director;do cinematographers become harder to work with as they become more established?his directorial debut, LAYOVER, and what to expect when watching it;how he feels about editing his films;his relationship with receiving feedback;a geeky military uniform question (he used outdated uniforms in service of the script -- really genius);how is LAYOVER different than what he expected?what's next for him with PARKSIDE EAST and how it'll be released;the Spike Lee production grants and how they work for NYU students;how much gear matters to him.Taylor's Indie Film Highlight: THE LOVE THAT REMAINS (2025) dir. by Hlynur PálmasonMemorable Quotes:"Recently I've been pretty drawn to filmmakers who...are very aware that an audience is watching the film and that the audience wants to be surprised.""In terms of a fresh perspective....I think I still need to watch more movies, honestly. I think it helps.""Sometimes it's my prep with directors. I'll ask them to give me like 10 of their favorite films.""I learned pretty much everything I know from film school, and from YouTube, and really just doing it. I think that film school offers you an opportunity to just keep doing it.""In an ideal world, you would look at several of my films and not see the same cinematographer.""if you look at my reel, my cinematography reel, you'll see the same cinematographer. But that's just because I choose the best wide shots for the reel.""The role of the director is really to have the vision and to communicate that vision to your crew and to your actors. And if I were to shoot it at the same time...I would need two of myself.""Directors should treat each film like it's the last film that they're going to direct and cinematographers should treat each film like it's the first film that they shot.""One of my professors always said, your relationship to feedback will define your graduate school experience.""PARKSIDE EAST, it was all my classmates. There was no paid crew."Links:Follow Taylor On InstagramCheck Out Taylor's ReelSupport 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: GHOST TRAILDirector: Jonathan MilletWriters: Jonathan Millet; Florence Rochat; Sara WiklerCast: Adam Bessa; Tawfeek Barhom; Julia Franz RichterSYNOPSISHamid is a member of a secret organisation pursuing Syrian regime's fugitive leaders in Europe. He ends up in Strasbourg while searching for his former torturer. What happens when they finally meet?Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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