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Watch This Episode On YouTubeI can't think of a better way to start special Slamdance coverage than with Sammy LeMieur, talking about his film, THE LEMIEURS (2026), which debuted at Slamdance this week.The logline: Fearing regret and desperate to keep hold of their history, the five sons of a small-town Minnesota matriarch must reconcile her aging, while her three grandsons running a funeral home face death head-on.I spend a fair amount of time in Minnesota so I can say: this is exactly what it's like. That was one of his goals at film school -- to show people the real Minnesota -- and for him to be able to pull it off, it's an incredible story.Over the next few weeks, the pod will release episodes more frequently than Tuesdays and Fridays (in theory, anyway) with a host of interesting Slamdance films.Slamdance is one of my favorite festivals because it attracts unique and groundbreaking films that are still absolutely independent. As long as I have a podcast, there will be Slamdance episodes, and of course, I'd start with Minnesota and filmmaker Sammy LeMieur.In this episode, Sammy and I talk about:why Minnesota is rarely on screen and why his film is such a breath of fresh air;how he got started in filmmaking in Minnesota;why NYU and if he recommends going to film school;the importance of creating short films in his filmmaking journey;how THE LEMIEURS got its start;what he wants people to feel when they watch this deeply personal film;the ending everyone sees coming -- but you don't want to see;his families' reaction to the film;his path into making documentaries and what his future in the genre holds;the distribution for his film and generally for docs;what's next for him, which is another doc that I can't wait to see.Memorable Quotes:"We were the first NYU production to shoot in Minnesota.""You pay for film school to meet your collaborators and...for the opportunity to use the equipment and make a movie.""I think there's something about short films that really teach you structure.""What I want people to feel is just be, feel like a LeMieur for 70 minutes, like you're a part of this family from when you sit down and when you leave the theater.""I knew from the start that it was always gonna end like that, and I figured the audience would know that too. And that was the challenge was like, how do you create a progression and create a rising conflict throughout this story that you know where it's gonna go?""I always thought I was gonna be a fiction guy, like with more a narrative approach. But I think like I said they're the same to me."Links:Follow THE LEMIEURS On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Treat your art like a startup is fantastic advice from filmmaker Charlotte Siller. She has a lot of great wisdom from her ten year journey into making a documentary. A CURIOUS IDOL is a film about the "life, and truth, of Louise Brooks", a film star but also an intellectual powerhouse.Charlotte and I discuss so many topics we don't normally talk about on the podcast -- an unvarnished take on not showing up for class in college and the blockchain. It is thrilling to share an episode with such a unique filmmaker, Charlotte Siller.In this episode, Charlotte and I talk about:her ten year quest to bring her film, A CURIOUS IDOL: DOCUMENTARY OF A LOST GIRL;her unvarnished and amazing take on school, acting, and how she wound up as a filmmaker;why she didn't connect with acting and how cinema studies set her up to make a documentary;what the film looks like now and when it can expected to be released;why she's putting the film out now, despite the enormous challenges;the opportunities of the blockchain for indie filmmakers and her award from Decentralized Pictures;how marketing helped her filmmaking;what's next for her.Charlotte's Indie Filmmaker Highlight: Wong Kar-Wai; George Cukor; THE MOMENT (2026) dir. by Aidan Zamiri based on a original idea by Charli XCXMemorable Quotes:"The film itself is about Louise Brooks, who was a silent film star, but even more was a writer and like this brilliant self-taught woman.""The hardest thing about being truthful about the world is having to be truthful about yourself.""I think the professors there taught me how to look at film storytelling analytically and how to have a holistic viewpoint on it.""The most important thing to me in this whole process was that I did not put my own bias on it.""This has been a pretty sporadic decade of doing this. Hopefully, this is helpful to young filmmakers who are starting to embark in these journeys. I had to live a life in between all of this.""Filmmaking requires, oh, so much marketing, like a ton of marketing. And I didn't realize that. I had that experience until I started doing marketing and then I was like, oh, wait a minute."Links:Follow A CURIOUS IDOL On InstagramA CURIOUS IDOL 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: JACK GOES BOATING (2010)Director: Philip Seymour HoffmanStory by: Robert GlaudiniCast: Philip Seymour Hoffman; Amy Ryan; John Ortiz; Daphne Rubin-VegaSYNOPSISSingle Jack (Philip Seymour Hoffman) drives a limo for a living and has a best friend, Clyde (John Ortiz), a married co-worker. Clyde and his wife decide to set up Jack with another friend, Connie (Amy Ryan). Jack and Connie hit it off, and a tentative romance blossoms, inspiring Jack to take cooking lessons, learn to swim, and apply for his dream job. However, as that relationship grows stronger, Clyde and his wife find their marriage crumbling.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

Part of the reason my guest, French filmmaker Boris Lojkine, has been so amazingly successful with his films, most recently SOULEYMANE'S STORY (2024), is his humility and understanding of how to portray people not like himself.Instead of making a "Parisian film about a middle age couple in the crisis of existential bullshit" -- his words -- he has made feature films that depict the life of an immigrant. Paris was the setting for his latest film, but he wanted it to come across as a foreign ZIP code.This was all borne out of his roots as a documentarian, and I am simply in awe of his story. And the fact that he eschews all social media. You're living the dream, Boris.In this episode, Boris and I discuss:why he's gone beyond most French filmmakers to show France from the outside;how he got his start in filmmaking as a philosophy teaching, making two documentaries in Vietnam;how narrative films can lose the reality of documentaries;the reason immigration factors into so many of his stories;if he's the right person to tell an immigrants' story;telling the story of female protagonists in his films;how Sean Baker helped him get distribution;if he's disappointed that his previous films aren't available for streaming;what led him to create SOULEYMANE'S STORY and the risks he took in making the film;the documentary feeling in his films and how he handles actors;does he see it as a compliment that other people are making films with similar stories?what's next for him and how filmmakers should be more adventurous.Boris' Indie Film Highlights: I ONLY REST IN THE STORM (2025) dir. by Pedro Pinho; A POET (2025) dir. by Simón Mesa SotoMemorable Quotes:"I started to make documentary films because my ex-wife was making documentary films and I saw how she was doing and I thought, okay, I will try to do my my own films too.""I wanted to make films abroad. I was not interested in making a Parisian film about a middle age couple in the crisis of existential bullshit.""There is the question of legitimacy and sometimes people, usually young people, younger people than younger than I am from, from another generation, they ask me, what's your legitimacy? And now I answer my legitimacy is zero. But because my legitimacy is zero, I have to work more.""I have to listen, and I think the most important thing in my work is not to direct, but to listen.""I was talking with a Congolese director. And my neighbor in the restaurant, he told me, oh, you are Boris. I watched your film yesterday and it's an incredible film. Let me talk to my friend Sean Baker, and he talked to his friend Sean Baker, who made a tweet. And the week after, we had a distributor, you know, sometimes you just have to eat Vietnamese in a restaurant."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: CITY ISLAND (2009)Director: Raymond De FelittaWriter: Raymond De FelittaCast: Andy Garcia; Steven Strait; Julianna MarguliesSYNOPSISPrison guard Vince Rizzo (Andy Garcia) wants to quit his job to become an actor, but he also needs to make up for lost time with Tony (Steven Strait), a long-lost son who's an inmate where Vince works. When Tony is freed, Vince suggests the ex-convict move in with his wife, Joyce (Julianna Margulies), and their children. But because Vince neglects to tell his family that Tony is not just a stranger, but the son he fathered before he met Joyce, this leads to a series of comic misunderstandings.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 king of the pushback -- it's a great title to have.In today's podcast, I talk with filmmaker Adam Neuhaus, who helped put together possibly the best brand in documentary, 30 for 30, and then bet on himself, founding Neuhaus Ideas and then The Nonfiction Hotlist. The latter project has continued to grow. March 6th, 2026 is the deadline for the Yahoo x The Nonfiction Hotlist partnership, which helps give a home to short docs.He is also involved in numerous nonprofits that help people get started in filmmaking, a sorely-needed boost when people need it to the most. That's the through-line of his career -- helping others. And much to his credit, pushing back on podcast hosts. That's my favorite type of guest.In this episode, Adam and I discuss:why extending a ladder -- or an elevator -- to people starting their careers is important to him;how he practically makes it work running his own company as well as companies like Nonfiction Hotlist;his start in filmmaking and journey from William Morris to creating puzzles;30 for 30's brand and what makes a great sports documentary;the issue of access in documentaries, especially sports;founding an "ideas" company versus running a production company;the amazing story of founding The Nonfiction Hotlist from a post on LinkedIn;why people were more amenable to accepting feedback as part of the application process of The Nonfiction Hotlist;sports films as part of the Hotlist and the importance of expanding your aperture about what a sports doc is;how film festivals actually work; Adam pushes back on the notion that a lot of it is determined by friends and pitching the programmers;why the Yahoo x The Nonfiction Hotlist partnership is such an important platform for short docs;what's next for him and The Nonfiction Hotlist.Adam's Indie Film Highlight: The 2025 Nonfiction Hotlist Memorable Quotes:"If you're feeling bad for yourself, give to somebody else, be of service to somebody else.""I decided to leave a...corporate job that I worked at ESPN for many years to give this a shot.""You need to find something that works between projects.""How do we find more durable systems for ourselves so that we stay accountable to ourselves, to the work we're doing? The only thing that I've ever seen really work in that way is consistency.""We're building a puzzle community. We're trying to build a large community, and then we don't need corporate dollars. We then could be able to sustain ourselves as an independent company.""I'm certainly entrepreneurial-minded. But it's certainly not easy.""A great sports documentary goes beyond who won and lost the game.""The projects that I'm less interested in are just the pure follow docs.""I call it an ideas company because primarily I am not necessarily looking to run production services for my company.""The challenge of a development company versus a production company is that development only gets paid when the project really comes to fruition.""When did we all start believing that everything has to take forever in this business? It's actually not true.""Fish your barrel before you start looking for generalized storytelling fans."Links:Follow The Nonfiction Hotlist On InstagramNeuhaus Ideas Yahoo x The Nonfiction HotlistThe Nonfiction HotlistSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director, teacher, all around rebel Itonje Søimer Guttormsen premiered her latest film, the buddy comedy-drama BUTTERFLY (2026) at the International Film Festival Rotterdam, and came here to talk about the film, her career, and all the bad advice she got at film school for the podcast.When you watch BUTTERFLY, you get the sense of an assured filmmaker at work: a close to two hour runtime that goes quickly and a work of art that doesn't feel like it was made by a committee. It was made by a truly unique voice.In this episode, Itonje and I talk about:the world premiere of BUTTERFLY at the International Film Festival Rotterdam in February, 2026;what she wants them to feel when watching the film;how she decided to get into filmmaking;the best way to encourage rebelliousness in film students;why we can't see her directorial debut, GRITT (2021);her focus on depicting artists in her films;the strong female protagonists in BUTTERFLY and why we don't see more of that on-screen;the balance of following the script versus giving actors room to maneuver;finding female role models as a director and whether things are getting better for female stories;how she didn't make compromises in her films;incorporating spirituality into her films without turning it into a punchline;what's next for her and what she has learned about the process.Itonje's Indie Filmmaker Highlights: Guy Maddin; Denis Côté; MAGIC FARM (2025) dir. by Amalia Ulman; Camilla FigenschouMemorable Quotes:"The audience [at International Film Festival Rotterdam] was, they're so attentive, they have a lot of questions and everything is arranged beautifully. So we had a blast.""There's no hierarchy. Everyone goes to the same party. You speak with short filmmakers, you speak with distributors or festival assistants.""I felt so many of the things I learned was wrong, kill your darlings. Less is more. All of this bullshit that I don't believe in.""It was my first feature feature film idea. It came in 2008. So I've been working with this for 18 years.""I think the sibling relationship...it must be the most defining relationship we can have." "I always felt that there's my way or no way for me."Links:Hollywood Reporter Interview With ItonjeFollow Mer Film 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: OKIE (2024)Director: Kate CobbWriters: Boris Lojkine; Delphine AgutCast: Kevin Bigley; Kate Cobb; Scott Michael Foster; Dan JohnsonSYNOPSISLouie, a lauded writer, returns to his dilapidated hometown after his father's death. Confronted with a deluge of people from his past, Louie is forced to reconcile with the stories he's stolen, twisted, or downright exploited for profit.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 don't know if it's fair or not, but if you're going to launch a service made up of Oscar nominated films, you have to have a background in making great films yourself to make it work. My guest today, director Alejandro Vilpa, is pushing forward with both: a streaming service called Vilpa Max that is now available in the Middle East/North Africa region and the UK for award-winning short films, and also going on a festival run with THE UNDERTONE OF DAVID JENSEN (2026), a sumptuous film about the struggles of a violin soloist.He put it together with the help of the Czech and Mexican governments, not an easy task, and now goes on to launch a streaming platform!It takes guts. Let's celebrate that today with Alejandro.In this episode, Alejandro and I talk about:how he launched Vilpa Max, a new platform available in the Middle East and the UK for award-winning short films;his start in filmmaking and what led him to starting his own streaming service;why the distinction of award-winning films as part of Vilpa Max;what's the pitch for an Oscar nominated short to wind up on Vilpa Max?;his advice for nominated filmmakers right now;the need to create high-quality films of your own if you want to attract those kind of filmmakers;the story behind THE UNDERTONE OF DAVID JENSEN (2026);how he handled the music playing in the film from actors who didn't know how to play the violin;putting together a film assisted by both the Czech and Mexican governments;"short films don't matter" -- his thoughts?;what's next for him and when Vilpa Max will launch in the United States.Alejandro's Indie Filmmaker Highlight: Malachi MarlanMemorable Quotes:"It's all about the team that I got. I got all the best team that I could have with what I had.""Most of us artists, we struggle to find out what's next, right?""I found there was...these films from the Oscars and Cannes Film Festival. They won and nobody knew about them. Why?" What's the pitch for Vilpa Max to filmmakers? "We make them make money with their films""I like to say we are all David Jensen.""We're constantly scouting for new films.""I don't think there's a single film in Vilpa Max that you would say, okay, that looks amateur."Links:Vilpa MaxFollow Alejandro on InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director and filmmaker Miguel Angel Ferrer did something truly remarkable and breathtaking in his film, THE SHADOW OF THE SUN (2023). Not simply that it's Venezuela's entry into the Oscars or he shot the film in his home country of Venezuela, although that's fantastic in its own right. When you hear the story of how the film came to be, through the radiant cinematography or the work of a 65 year old cameraman, you get an understanding of what a passion project this was for him. You understand why he imbued every single character in this film with their own backstory and meaty roles. I felt like I could understand every person in this film because of the care he gave them, and that's rare indeed.Venezuela is in the news for things other than filmmaking, but that doesn't have to be the case. Let's appreciate the true artistry of filmmakers like Miguel.In this episode, Miguel and I discuss:the radiance of the film and how it shows people what life is like in Venezuela;how the global news stories about Venezuela turned a spotlight on the country and its filmmakers;film school in Miami and how the city should be viewed in indie film;how his 11+ shorts led into this remarkable feature film;taking jobs you might not expect as a hidden strength;how he manages two companies -- Magic Films and Multi Movie Studios;what he's looking for in a director;how somebody should feel watching THE SHADOW OF THE SUN;why he imbued so much life into each of his characters in his film and why that's so rare;his commitment to shooting the film in Venezuela and what advice he'd give others on the process;his powerful answer about inspiring future Venezuelan filmmakers;how he got the nomination for Venezuela's entry to the Oscars;what's next for him, including a remake!Miguel's Indie Film Highlights: Jeff Nichols; THE SEA INSIDE (2004) dir. by Alejandro Amenábar; J.A. BayonaMemorable Quotes:"What's been happening lately obviously puts a spotlight on Venezuela, a gigantic spotlight on Venezuela, and people start doing the research and start asking the right questions, they find a lot of truth that they didn't know about.""As a filmmaker, you have to grab...the cards that life gives you and play them as best as you can.""Everybody wants like instant gratification and everybody wants the David Fincher career, the Nolan career. Whereas Nolan never had to do a commercial or a music video.""I want them to see themselves in these characters.""Having done verticals and having done a movie for a studio very rare nowadays does a movie get made that is not by committee meaning you have to adhere to something that the studio needs to be done or that the producer, the production company, needs to get done.""This one was one that when I got the kernel of the idea, it pulled me. I couldn't stop thinking about it. It pulled me and it pulled me, and I couldn't let it go until it was done on the page.""That's what we wanted to capture in the film, the Venezuelan spirit.""The moral of the story there is, listen to your girlfriend and to your mom."Links:Follow Miguel On InstagramMiguel Ferrer's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MADELEINE COLLINS (2021)Director: Antoine BarraudWriters: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISJudith leads a double life: two lovers, two sons in France and one daughter in Switzerland. Entangled in secrets and lies, her lives begin to shatter.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

Most of the time, I'm hoping my guest will be a great one to have on the podcast, but with director + editor Sara Barger, I knew. She was an instructor as part of my documentary certificate program -- COVID killed the program -- but I got so much out of her thought process on how to make films. So when I saw her name listed prominently on the poster as the editor for her new film, DAD GENES, I knew I'd love to have her on the pod. I'm glad she agreed.As you hear in the intro, we talk about women in film and the lack of representation, as Sara served as president of Women in Film & Video, and through our conversation, I say she's forceful...because she is. But as I came up with that intro, I reflected on that: is that an attribute I'd give some guy? No. Because he'd be just being a guy. So a better way of putting it is Sara is how all people should be in film, regardless of gender: fierce advocates for their art. In this conversation, Sara and I discuss:her name being next to the director and producer on the poster;the story of DAD GENES and what the premiere was like in NYC;how she got her start in filmmaking;should directors know how to edit?;do you need to have a forceful personality to be a great editor?;looking back on her film, LITTLE BUT FIERCE (2020), and what she learned from it;finding issue areas to pursue as a documentary filmmaker;the quick 60 minute+ run time and her support for short feature docs;whether she loves the producing job -- on ads, yes; on films, no;progress on women in film;what's next for her and innovation in political advertising.Sara's Indie Film Highlights: THE SOCIAL DILEMMA (2020) dir. by Jeff Orlowski; THE GREAT HACK (2019) dir. by Karim Amer and Jehane Noujaim; THE LAUNDROMAT (2019) dir. by Steven SoderberghMemorable Quotes:"I don't think most people realize this, but when it comes to documentary filmmaker, the editor does a lot more than just piecing it together.""It was my first time seeing it with an audience. It was my first time seeing it on a screen larger than my laptop. And so I kept being like, oh my God, it looks so good. It sounds good. Okay, this is like a real movie.""I was the kid who was making all the neighborhood kids perform in backyard plays for our parents growing up.""The best people on set are the ones who know how to do everyone's jobs.""Yeah, I can edit this film, but you have to let me do my job.""When I'm in pain, when my back goes out, there's not enough weed on this planet.""The second you stop recording is when they say something amazing.""I have a ADHD, I'm like, come on man. We gotta keep this moving."Links:Sara Barger's WebsiteWatch LITTLE BUT FIERCE (2020)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

It shouldn't surprise you that somebody who is out looking for "weird stories that connect and resonate" would direct DAD GENES (2026), the film about a sperm donor meeting his biological children. Craig Downing has been around the world looking for great stories and when he finds one, he sticks to it, no matter the time it takes to tell. DAD GENES took almost 7 years from idea to festival fruition, and that's a big credit to his team. Matt Isaac did a fantastic job producing as well as developing a festival schedule -- the film had its world premiere at Dances With Films NYC -- and Sara Barger put all this together with phenomenal editing skills.I know Sara -- she was one of the excellent instructors at my George Washington documentary film certificate program -- and the kind of teamwork that puts the three of their names together on the poster for DAD GENES is the kind of team I want to have on the show. I'll talk with Sara for the next episode.DAD GENES is a film that's worth a close look, for what it says about American society and the tremendous team that put it together.In this episode, Craig and I discuss:the crazy over half-a-decade path to making the film;how he got started in filmmaking -- as a kindergarten teacher! -- and then off to Latin America and Iceland filming messaging videos for non-profits;if people have to go the influencer router versus what he did to get started;what brought him to documentary?the story of DAD GENES and what people should expect when they watch;how they took seven years of footage and made it understandable;the improvement of his skillset as filming went on;the state of documentary and the quick ruintime;what he's working on next.Craig's Indie Film Highlight: POW WOW (2016) dir. by Robinson DevorMemorable Quotes:"And Matt [the producer of DAD GENES] called me and he was like, hey Greg, do you know any directors that might be interested in working on this? And I was like, yeah, Matt, me.""If I took a video of someone walking out of Trader Joe's with avocados, they'd be like that's a pretty good shot, Craig, whatever. But if I took the exact same context of someone walking out of a Guatemalan market with a bag of avocados, you're like, whoa, that's amazing." "It is not necessarily just documentary, it's for me...where is the story?""My producer and publicist is we gotta tell 'em something about the movie or that they're not gonna know what's going on. Yeah, okay, that's fair, but don't play all the cards.""I felt like if you watch this movie, you see the development and the maturity of my ability to make interviews happen.""I think the runtime will be dictated by the story."Links:DAD GENES WebsiteFollow Craig Downing 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: SOULEYMANE'S STORY (2024)Director: Boris LojkineWriter: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISSouleymane, an asylum-seeking cyclist who delivers meals in Paris, has only two days to prepare for a crucial interview. This interview will determine his residence permit status.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

Filmmaker Jeffrey Roth has never shied away from intriguing topics, looking to find the humanity behind some of the world's most influential stories: the Apollo astronauts, vice presidents of the United States, or a famed Egyptologist like he does in THE MAN WITH THE HAT (2026). He brings an eye for the story, not the politics, and that's what makes him an amazing filmmaker .In this episode, Jeffrey and I discuss:what's the best way to describe his newest film;how he got started in filmmaking;why he's interested in the human element of history;film in documentaries and his view on hybrid docs and re-enactments;the political environment and reaction if he announced he was doing a documentary on any sort of figure today versus when he did 41 (2012);the wild and bold story of how he secured the ability to make THE MAN WITH THE HAT;what he owes a subject as a documentarian;how he structured THE MAN WITH THE HAT;the name of the film and how he chooses topics;what's next for him.Jeffrey's Indie Film Highlight: FOR ALL MANKIND (1989) dir. by Al ReinertMemorable Quotes:"It's always one step ahead of you then where you really think that you should be." "I was with a buddy at a an event with these Apollo astronauts and we were just sitting around listening to them. And somebody had just mentioned it would be very interesting to see and watch a story about who they are as opposed to the science or the technology.""41 is not how to love or hate a Republican. It's about a story and a man...who happened to become president.""I would rather go to Egypt and shoot the antiquities there and shoot it either artistically, stylistically, whatever you wanna call it rather than get on a set.""I don't think the [political atmosphere] has changed. I would say it's probably heightened.""They made a big event with George and Barbara, with eight Apollo astronauts, six of the guys that walked on the moon in this one event. We showed the room and I walked out of there that night thinking I'll never see this guy again. But that was fun.""I owe them respect. I owe them honesty and to try to let them know really what the goal is. I don't want to tell them too much about what I'm trying to do. Because I don't want them to think about it. I want to...try to get the real person if I can. So when I'm sitting in an interview situation, I do not like to give the questions in advance.""I don't like to put somebody's name or really hit home to make the title too specific to what you're doing."Links:Watch THE MAN WITH THE HAT (2026)Follow THE MAN WITH THE HATSupport 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: TO THE WONDER (2012)Director: Terrence MalickWriter: Terrence MalickCast: Ben Affleck; Olga Kurylenko; Javier BardemSYNOPSISAfter falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.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 today, director Robert Ham, has lived a life of service -- to his country, to art, to his family -- and it moved me deeply to host him for the podcast. We talk about his military service in the Army as a combat cameraman; losing his wife to cancer and making a documentary about her beautiful life, of honoring a 9/11 family with his latest film, ZZASLOW K-427, which is screening in New York City on January 18th, 2026.And if this sounds heavy, that's the duopoly of sometimes difficult service. I can't speak to any other profession like medicine that often walks the line so closely with the fragility of life, but in the military, a positive outlook even in the harshest conditions is the only way you'll make it through, and that spirit is reflected today on the podcast. Welcome to our world. In this episode, Robert and I discuss:the instant rapport of veterans, immaterial of branch and age;how he joined the military as a combat cameraman and the advice he'd giving aspiring filmmakers thinking about joining the military (OCS is officer candidate school; new recruits can attend with a four-year degree);how he became the most decorated combat cameraperson in Army history;graduate school at USC and earning a Tillman Scholarship from the Pat Tillman Foundation;why he started his own production company, HAMMR Productions;the challenge of showing PTSD on screen and what he thinks of veteran-focused films;weighing his own mental health with making realistic films about painful parts of his life;his reflections on MADE WITH MELANIE (2022) and his advice for people embarking on a similar journey;releasing indie films on YouTube;working on different topics than military related films?how INTERPRETERS WANTED (2023) is a great primer for learning more about the U.S. relationship with Afghanistan;why he edits his own projects;the story behind ZZASLOW K-427 (2025), which is screening in NYC on January 18th;the festival strategy for his films;what's next for him.Robert's Indie Film Highlights: WARFARE (2025) dir. by Ray Mendoza; MY DEAD FRIEND ZOE (2024) dir. by Kyle Hausmann-Stokes; HOLLYWOOD GRIT (2025) dir. by Ryan Curtis; SAND CASTLE (2017) dir. by Fernando Coimbra and Chris Roessner; Rebecca Murga; Maximilian Uriarte; Mike DowlingMemorable Quotes:"As going through the unique experience of being in the military and then coming out of the military and now being labeled a veteran, which becomes so much part of our personality...when I meet other veterans, it is that common bond.""I did extra work. I was a Marine in FLAGS OF OUR FATHERS (2006) as an extra.""Same thing with everybody in the military. It's hard. You're asked to do morally complicated things that you have to then live with. And so that's the first thing that I would approach it with is that like, where do you stand?""It feels like the further you get away from the source of anything, the further from the truth you're gonna get, right?""I've always used the camera to almost separate myself from the trauma.""All I could do was film. I don't know, I'm not a doctor, I'm not, I'm like trying to read these crazy things that she's researching and that we're looking together and taking notes when doctors tell us diagnoses and what we're trying to do and what options and medicines and stuff I've never heard of before.""We had the conversation about how we share this with the world and she just basically said, I trust you." "She was a great person. She was a wonderful woman. She deserved a film to be made about her." "It does come back down to my own inability to know how to help a helpless situation.""I have four kids. I'm married, I have a mortgage. So whoever calls up and says, we got a budget, I'm like, okay, let's do this.""I'm very self-critical of my edits and I don't hold onto things very closely. As a director, you shoot something and you're like, oh, this is it. And then the editor has to be like, no, that wasn't it."Links:Follow Robert On InstagramHAMMR ProductionsWatch MADE WITH MELANIE (2022)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every once in awhile, I talk with someone who completely changes how I view independent filmmaking and those creating the most inventive films. Lately, that was writer/director/dancer Sam Mandich, whose work was influenced by her beginnings in dance. When you watch her films, it all makes sense -- the spare movement and the focused direction -- it comes from her amazingly unique background.An experimental dance film? A psychological coming of age horror? Sign me up for the next few years of Sam Mandich's work. What an astonishing person and I'm so glad to talk with her today for the pod.In this episode, Sam and I discuss:how dance informs her filmmaking;the amazing through-line in dance, conformity, and coming of age stories;what she got out of attending incredibly selective programs like the Paris College of Art and the American Film Institute;why she was selected by her peers at programs like these for higher honors and how it relates back to dance;the signs that people handled selective opportunities poorly;the simplicity -- and complexity -- of her latest works like JIA (2025) and ANGELS;her work on a new experimental dance film (!!);what it is like for her directing other peoples' projects;how she developed her writing skills and working on a script she didn't write;the fact that coming of age stories have become more immediately told and what that means for the future;the various stages of release for her films and the emphasis of top film schools on festivals;what Square Peg Social was like for her;what's next.Sam's Indie Film Highlight: MA (2015) dir. by Celia Rowlson HallMemorable Quotes:"when I was living in New York and commuting everywhere with my headphones on, suddenly everyone's a dancer.""With dance, it's so interesting because it's an art that's about honing in on your personal craft, and how your singular way of expression feels.""Going back to dance, there's been so many times where you're thrown into environments where you don't know anyone and you're immediately expected to be open and soft and receive like people's most vulnerable stories and then tell them through your own body.""All of these experiences I've been reflecting on so much when I'm doing...I try to journal every morning and try to understand why I am feeling the way I'm feeling about something.""Even though art is so personal, it's really healthy to try to not take things personally.""Directing is a pretty lonely profession...so I think for certain stories, I'm really drawn to collaboration for that sense.""Working on my own scripts, there is a certain vulnerability that comes with the solitude of that...manifests in the story as well.""When you're choosing to make a film with someone, you're choosing to be in a relationship with them. So it's it's a little bit of you. It's a little bit of me, and we figure it out together.""Coming of age can happen at any age."Links:Follow Sam On InstagramSam Mandich's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE END OF THE TOUR (2015)Director: James PonsoldtScreenplay: Donald MarguliesCast: Jason Segal; Jesse EisenbergSYNOPSISDavid Lipsky, a reporter with the Rolling Stone magazine, interviews acclaimed novelist David Foster Wallace for five days, during which they form a unique bond.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

Making a film called G.S.W (2025) (gun shot wound in medical jargon) in a country with very little gun shot wounds is a choice by British director Jonny Durgan, and I'd argue it's an excellent one. The film works for all sorts of reasons -- Jonny's advertising background; a great script; a fantastic acting performance by Genevieve O'Reilly -- or ten other ones. We explore all the reasons in the pod.In this episode, Jonny and I discuss:whether his sense of humor is a reason for his success;naming a film G.S.W. and what he wants people to know going into watching it;his transition between advertising and filmmaking;how advertising informs his filmmaking;the release strategy process for short films and what he might do differently;his ability to find great actors for his films and its affect on getting his films made;don't be shy on sending out your script if you believe in it!;casting for short films;how the US market views the film given the higher rate of gun violence;making indie films in Britain.what's next for him.Jonny's Indie Film Highlight: A FRIEND OF DOROTHY (2025) dir. by Lee Knight; PROTEIN (2024) dir. by Tony BurkeMemorable Quotes:"I grew up quite in a rural area, so to...say to someone, I want to be a film director, they might as well have said, I wanna be a NASA astronaut.""For short films in particular, you really have to be tight with your story because there's no...time to spare.""And then I put the phone down and immediately pick up the phone to the producer, and said good news and bad news. Good news: Genevieve's in. Bad news: we've got five weeks.""One of the things I've learned is to always leave space for the actors to do their thing.""I feel like the kind of the talent of people coming through is so much greater than it's ever been. It's just I feel now that we could be in a golden age of short film really, or independent film, hopefully."Links:Follow GSW On InstagramJonny Durgan's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

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