Indie Film Hustle® - A Filmmaking Podcast with Alex Ferrari

Sometimes, the fire of creativity is struck not by lightning but by the slow, smoldering ache of dissatisfaction. And in today's soul-stirring conversation, we welcome Shawn Whitney, a filmmaker who found cinema not in the corridors of academia, but in the quiet rebellion of self-taught screenwriting and micro-budget filmmaking. Shawn Whitney is a screenwriter, director, and founder of Micro Budget Film Lab who empowers indie creators to tell powerful stories on shoestring budgets.Our journey with Shawn begins not in childhood fantasies of movie stardom, but in the dense woods of Brechtian theater and the quiet study of old black-and-white films. His path wandered, as many worthwhile ones do, through rejection, basement solitude, and heartbreak—until something within him demanded not just expression but transmutation. Shawn didn't study film in college. Instead, he emerged from the theater world and fell into filmmaking after a failed workshop production left him broke and dispirited. Yet that fall became his rise. As he said, “I just started writing screenplays and learning the craft in the quiet shadows.”There's something beautiful in learning the art of story not from glamorous sets or high-priced workshops but from the bones of failed experiments and the echoes of dialogue bouncing around your own mind.Shawn described his education not with fanfare but humility—referencing Sid Field, Blake Snyder, and the ever-controversial Save the Cat—tools that became his spiritual guides, not rigid masters. And with every script, he refined a method. Not the method, mind you. A method. “You just need a method. You can't just be anarchy,” he mused.But perhaps what struck me most was Shawn's philosophy that screenwriting is not just structure—it's an argument about what makes life meaningful. Films, he insists, must be animated not by market trends, but by inner turmoil, by the strange flickering passions of the human heart. “It can't just be about chopping up zombies. Your characters must go through an inner transformation.” That idea—that a film is a living question—sets Shawn apart in a world often obsessed with following the formula instead of feeling the pulse.Shawn's micro-budget films—“A Brand New You” and “F*cking My Way Back Home”—aren't just titles that stick. They are rebellious acts of filmmaking born from limited means and limitless creativity.His stories unfold not in sprawling CGI landscapes, but in human longing, funny sadness, and philosophical absurdity. One film follows a man trying to clone his dead wife in the living room. Another explores redemption from the passenger seat of a towed Cutlass Supreme. With a budget of $7,000 and a borrowed tow truck, Shawn pulled off scenes that feel bigger than most tentpole blockbusters.But filmmaking, for Shawn, isn't just about his own expression. Through Micro Budget Film Lab, he's become a teacher, a mentor, and a kind of mad scientist in the alchemical lab of storytelling. His passion is not merely to direct, but to help others break free from the gatekeeping systems that keep fresh stories from being told. “We need a micro budget movement,” he declared, envisioning a cinematic rebellion where filmmakers use what they have to tell stories no one else dares to.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

The mind is a curious trickster, delighting in dreams where logic pirouettes in absurdity. In today's extraordinary episode, we welcome Andrew Shaffer, a humorist and New York Times bestselling author whose wit slices through the storms of reality with a twinkle in his eye and a chainsaw in hand. From the earliest pages of his life, Andrew Shaffer was destined to dance with the ridiculous and sublime. As a child, he devoured horror and science fiction with a ravenous appetite, only to find himself drawn back to these imaginative playgrounds after a detour through the hallowed halls of literary fiction. His journey led him, almost inevitably, to the playful chaos of "How to Survive a Sharknado," a manual for the absurd that demands both laughter and preparation.In the dance of ideas, Andrew revealed how the birth of the Sharknado survival guide was as spontaneous as a tornado filled with teeth. Inspired by the original cult film, he offered his humorous talents when Random House and SyFy decided to create a companion book. Imagine being tasked with making flying sharks scientifically plausible; as he put it, "I had to talk to a marine biologist and ask, not could this happen, but how it might happen." It is in such delightfully impossible questions that the spirit of creativity is set loose.Throughout the conversation, there was a beautiful lightness, the kind one finds when nonsense is taken seriously. Andrew's research involved binge-watching over 30 sci-fi films—some genuine, some fabricated solely for the book—to weave an interconnected universe of mayhem. When asked how one might survive a Sharknado, he smiled into the void and said, “The answer in the book is simple: Stand and fight. Grab a chainsaw.” It is a lesson not just for storms of sharks, but for all the monstrous whirlwinds that life throws at us. Yet beneath the chuckles and chainsaws, Andrew's words echoed a deeper wisdom. Too much meta-awareness, he warned, robs a story of its soul. "If everybody's in on the joke," he said, "then the joke itself isn't that funny anymore." Ah, but isn't that true of life itself? When we cling too tightly to cleverness, we risk missing the raw wonder that makes each absurdity luminous. Perhaps the most chilling revelation of the day was the invincibility of the ghost shark, a creature birthed from sci-fi chaos. Manifesting from toilets, swimming pools, and even water bottles, it served as a reminder: some forces cannot be outrun; they must be met with courage, humor, and an open heart.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

A spark of madness is often the first step toward creation. On today's episode, we welcome Bojan Dulabic, a passionate Vancouver-based filmmaker who pulled off a small miracle—he made a full-length zombie movie for just $5,000. But this isn't just a story of budgeting brilliance; it's a tale of relentless passion, artistic vision, and the kind of self-taught wisdom you can't get in film school.Born in Bosnia, raised in Germany and Croatia, and finally settled in Canada, Bojan Dulabic's journey into filmmaking is stitched together by war, displacement, and a child's fascination with VHS tapes in his mother's shop. His early life sounds like something out of a global coming-of-age novel. And perhaps that nomadic upbringing seeded in him a gift for observation—a key trait in any great storyteller. When he finally turned his teenage creativity into a film project in high school, something clicked. Not just the shutter on a camera, but the internal compass of a man who knew he had to follow the path of cinema, even if it meant doing it on his own terms.This wasn't a journey paved in gold. His first feature, shot for $4,000, was a comedy that taught him the ropes. His follow-up? A feature-length zombie film titled Project Eugenics.What could have been a cliché genre dive instead becomes a thoughtful narrative on misinformation, the chaos of modern life, and yes—zombies as metaphors. “To me, a zombie flick... it's not about the zombies. It's always about something else,” Bojan reflects. In his hands, the walking dead become symbols of mass confusion, manipulation, and the blurred lines of truth in our hyper-connected world.There is a playful seriousness to Bojan's philosophy. He reveres Romero and admires Rodriguez, but he walks his own road. Like Alan Watts would muse about the dancer and the dance, Bojan seems less concerned with final outcomes and more with being in the creative flow—tripping over obstacles and finding meaning in the madness. He shares stories of juggling a wedding, a tight shooting schedule, and DIY visual effects like a magician with duct tape. His secret? A mindset that embraces “safe confusion”—a term borrowed from Tarantino—that invites the audience into mystery without losing them.What's more, Bojan brings a rare humility to the table. He speaks about his cast and crew with deep respect, understanding that low-budget filmmaking doesn't give you the license to burn out others for your dream. His actors often worked just a few days, each scene scheduled with precision. His respect for time, energy, and goodwill may be the real reason his film came together. For him, filmmaking is not just a creative act but a spiritual contract—with himself, with his collaborators, and with the audience.This podcast isn't just a technical breakdown of low-budget indie cinema. It's a spiritual blueprint for artists who feel the fire but lack the funds. Bojan's approach is radical because it's so simple: take stock of what you have, and build from there. Whether it's stock footage, free VFX plugins, or your friend's living room—use it. More importantly, finish it. Don't wait for permission. Make your movie now.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Cynthia Hill, a filmmaker from North Carolina, discussed her journey from pharmacy school to filmmaking, highlighting her documentaries "Tobacco Money," "Private Violence," and the upcoming eight-part series "Road to Race Day" on NASCAR. She emphasized the importance of storytelling and character development, sharing her experiences with funding through foundations and the challenges of balancing art and business. Cynthia's work often bridges gaps between different communities, such as her documentaries on tobacco farming and farm workers. She also discussed the unique access she had to NASCAR teams, particularly Hendrick Motorsports, and the impact of her films on audience understanding.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

When the winds of curiosity rustle the mind and stir the soul, they often bring with them storytellers—those rare beings who don't just recount events but breathe life into them. On today's episode, we welcome Joe Kowalski, a young filmmaker from Cleveland whose creative spirit dances between shadows and light, weaving stories through film, mystery, and innovation.Joe Kowalski is a filmmaker, game designer, and storyteller whose projects explore new ways to experience narrative across media.In this profound conversation, we journey through Joe's unique endeavor—a Stephen King “Dollar Baby” short film adaptation titled I Am the Doorway. What begins as a seemingly simple homage to the horror maestro evolves into a lesson in humility, time management, and artistic vision. Joe's choice of story, influenced by a girlfriend and the limitations of a shoestring budget, was no accident. It was a study in resourcefulness—making the most of what one has while honoring a source of immense creative power. “You have to know what you can realistically accomplish,” Joe said. And that, my friends, is wisdom beyond years.Joe didn't stop at simply retelling a tale. He reframed the horror classic into a new cinematic experience, wrapping Stephen King's suspense within a short film festival format. This wasn't about profit or prestige—it was about community, experimentation, and delivering value to the audience. His respect for the time and effort of collaborators is unwavering: “That's the biggest thing they can give you,” he mused. And in a world obsessed with the bottom line, such reverence is sacred.But his imagination doesn't remain tethered to the screen. Joe designed an interactive Instagram murder mystery game—an elegant rebellion against linear storytelling. Through a labyrinth of tags and grids, players navigate a digital whodunit, one clue at a time. Each piece of the game reveals not just a path to the culprit, but a deeper truth about human curiosity and our hunger for connection. It's a digital scavenger hunt of intention, ingenuity, and play. A new mythology told in swipes and likes.Lest one believe that his path has been frictionless, Joe admits to the chaos of low-budget production, the stress of festivals, and the heartbreak of seeing good work shelved for lack of fit. Still, he views each project as a sculptor views stone—not yet perfect, but perfecting. His year-long film PRISM is another feather in this vibrant cap—a color-coded exploration of identity and emotional entanglement told through color-isolated cinematography. Here is a man who does not merely shoot films; he paints them.Throughout the conversation, what resounds most is Joe's blend of youthful energy and ancient patience. He reveres the creative process, yet he's unafraid to let go when the time calls for it. Whether planning podcasts with friends or studying the rise of VR storytelling, Joe doesn't merely chase the next trend—he studies its rhythm, its heartbeat, and asks how it might elevate human experience. “You have to care about the story even when you don't feel like caring about it,” he says—and that is the quiet devotion of an artist in bloom.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Gary King is a filmmaker who transitioned from a career in psychology and human resources to independent cinema, building a body of work that balances heart, hustle, and deeply human storytelling.In the spirit of Taoist unpredictability, Gary's story unfolds not as a straight line, but as a rich weave of intuition, risk, and creative alignment. He didn't attend film school—not out of rebellion, but because he didn't know it existed as a real path. Yet, what he lacked in formal education, he made up for in lived experience, teaching himself the craft by actually making films. From his first feature "New York Lately" to a haunting indie gem titled "Among Us," his journey is a testament to following that subtle inner pull, even when it defies logic or convention.What stood out most was Gary's devotion to character.He didn't chase Hollywood formulas or pre-packaged three-act structures. Instead, he sculpted stories that breathe. Stories that fail and rise again. He spoke of actors, not as tools to carry his vision, but as living beings whose rhythms dictate the energy of a scene. “The first take might be gold for one actor, but the sixth take is where another actor finds their truth,” he said. That kind of awareness doesn't come from reading screenwriting manuals. It comes from presence.It's no surprise that Gary gravitated toward stories with strong female leads. His commitment to representation isn't a gimmick—it's a reflection of his own lived dynamics. He and his wife uprooted their lives together, and it was her faith in him that seeded the beginning of his filmmaking path. When he pitched the idea of becoming a director, her response wasn't fear—it was, “Okay, how do we make this happen?”Every film Gary makes becomes his personal film school. No gatekeeping. No pedigree. Just the camera, the actor, the breath of a moment, and the sacred chaos of the edit room.One of the most beautiful sentiments he shared was how universal pain is the bridge to empathy. “You can tell a story about a Broadway dancer who never makes it, and someone who's never danced a day in their life will see themselves in that struggle.”And while his films may not be backed by million-dollar budgets or high-concept gimmicks, they pulse with something far rarer: authenticity. A humility that says, “I'm still learning.” A clarity that says, “This is who I am.” And perhaps most importantly, a humor that says, “Yes, I returned a porno tape to Blockbuster by accident, and no, I don't regret it.”Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Some stories unfold not with a bang, but with the echo of a bowling ball rolling down a waxed lane—steady, unpredictable, and brimming with hidden intention. On today's episode, we welcome a filmmaker whose journey is stitched together with sweat-soaked call sheets, stubborn creative grit, and a romance with storytelling that stretches back to a Sunglass Hut in Cincinnati. Jamie Buckner is a writer, director, and production coordinator who took a simple idea—a romantic comedy set in a bowling alley—and transformed it into a heartfelt indie film with an uncanny twin name.What unfolds in this conversation is not just the tale of a film called Split, but the soul of a storyteller who refused to let his creative voice be muffled by the chaos of working behind the scenes on massive Hollywood productions.Jamie shares how he stitched together moments between 14-hour workdays, late-night office hours, and endless sets to keep rewriting, reworking, and resurrecting the script for Split. “The creative muscle will atrophy if you don't exercise it,” he says. In that moment, you understand that this is no ordinary guest; this is someone for whom storytelling is oxygen.His story reads like a modern parable for artists. From early days bouncing between dreams of music, architecture, and comic books, Jamie landed on film—not by plan, but by epiphany. He describes it beautifully, realizing that all his interests merged in filmmaking, the perfect cocktail of drawing, sound, emotion, and movement. And thus began the pilgrimage: extra work on Seabiscuit, gigs on War of the Worlds, and a life that kept knocking until the door opened just enough to let the artist through.But the magic, as it often does, lived in the in-between. While others went to happy hour, Jamie stayed late in the office to write. While his peers chased security in crew roles, he wrestled with Kickstarter campaigns, coordinated sizzle reels (or “proof of concept” pieces, as he prefers), and asked himself the questions that every creative must ask: "Will I do this until I'm sixty and just look back, or will I carve out the time now?" He chose the latter—and Split was born.There's something charming about how he talks of making “a cute little bowling movie,” while casually referencing that its short film starred future television stars. It's clear he walks both worlds with ease: the guy who's worked on John Wick 2, and the indie soul who still geeks out about local comic shops. He's aware of the absurdity too: that his film shares its name with M. Night Shyamalan's thriller. He laughs about mistaken identities, mistaken downloads, and audience confusion, but stands firm. "We were here first," he says. And in that defiant simplicity lies the heart of a creator.Jamie's approach to art is like that of a Zen archer—disciplined but loose, always aiming, never rigid. He offers a quiet but potent kind of wisdom, the kind that doesn't shout but sticks with you. “If you're not doing this because you love it, then you're legitimately a crazy person,” he jokes. And yet, one feels the profound truth in those words. In a world spinning faster each day, where even scripts get locked down like government secrets, Jamie reminds us that what matters is finishing what you start—and doing it with heart.Like a good film, Jamie Buckner's journey doesn't resolve in neat lines. It's ongoing, filled with projects still to be written, scenes yet to be shot, and audiences still to discover the little movie that could. But what stays with you is not the resume or the name confusion. It's the voice behind the words, the love behind the lens. He's not just telling a story—he's reminding you why stories matter.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

A blank canvas. A single frame. The quiet hum before a film breathes life into a screen. But what happens after the final cut? How does a filmmaker's vision transcend the void and reach the hearts and minds of an audience? Today, we unravel this mystery with Danielle Raiz, a passionate advocate for creatives, whose work at Wix has been dedicated to empowering filmmakers and video creators.In this boundless digital age, content creation has become more than just an art—it is a language, a currency, a revolution.Danielle Raiz reminds us that the modern filmmaker is no longer a mere artist but an entrepreneur, an architect of their own cinematic empire. She shares how filmmakers can harness websites, digital marketing, and audience engagement to elevate their craft beyond the screen. "You have to engage with your viewers even before you start filming," she emphasizes. "You build your own website, create a teaser, and start talking to your fans. You share behind the scenes, updates, and teasers to create a buzz before your film is even out."A film, like a tree in the forest, may not make a sound if no one is there to hear it. Gone are the days when a filmmaker could rely solely on festivals and distributors. The power has shifted. Now, with tools like Wix, a filmmaker can craft their own digital home—a place where their work is presented with intention, where it is not merely another flickering light in the vast, crowded universe of content. The key is in visibility. "Your site is really your business card," Danielle Raiz explains. "When people talk to you, they'll Google your name. If they find a professional, beautiful online presence, it reflects on how they see your work."It is no longer enough to create; one must cultivate. Cultivate an audience, a brand, a presence. Marketing is not a necessary evil; it is an extension of the story itself. The best marketing does not feel like marketing at all—it is storytelling, an invitation, an experience.Danielle Raiz speaks of how major brands have already embraced this, turning advertisements into compelling short films. The lesson for filmmakers? Market your work as you would craft a scene—thoughtfully, purposefully, beautifully.Yet, beyond the artistry of marketing lies a fundamental truth: control. "For a long time, video creators had to play by the rules of streaming platforms," she says. "Now, everyone is chasing after great content creators. You have the power. You control the way your work is displayed, monetized, and shared. And that is an exciting time to be a filmmaker."We live in a time where technology shifts at the speed of thought. Virtual reality, interactive storytelling, live engagement—these are no longer distant dreams but tools at our fingertips. The game is no longer about who gets a seat at the table; it is about those who build their own table. And in this unfolding cinematic future, those who understand both art and strategy will rise.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Some moments in life are stitched together like the seams of a well-loved garment, their fabric woven with laughter, reinvention, and a refusal to let the world dictate what is possible. On today's episode, we welcome Rhonda Shear, a woman who embodies this spirit of transformation with a playful wink and an unstoppable drive. Many remember her as the effervescent host of USA Up All Night, where she brought an entire generation into the cult world of late-night B-movies, but her journey extends far beyond the glow of a television screen.Rhonda Shear is an actress, comedian, entrepreneur, and accidental feminist, though “accidental” may not quite capture the intentionality with which she has shaped her life. Her story arcs from the glitz of Hollywood to the entrepreneurial success of her intimate apparel empire, with plenty of misadventures and revelations in between. She grew up in New Orleans, a city that instilled in her a sense of pageantry and performance, leading her from beauty pageants to acting, stand-up comedy, and ultimately, to building the number one selling bra in the world, the Ahh Bra.From the outside, her career may look like a sequence of lucky breaks, but Rhonda speaks to something deeper—the power of embracing reinvention without losing authenticity. Hollywood tried to confine her to a singular image, the bubbly blonde bombshell, but she turned it into her own brand of comedy, injecting intelligence into satire and challenging expectations. “People told me, ‘You can't be sexy and be funny.' And I said, ‘Watch me,'” she recalls.Her experiences in the entertainment industry—auditioning against preconceived notions, breaking into stand-up at a time when female comedians were still a rarity, and later navigating the world of business—illustrate the universal lesson that one does not have to be what the world expects. Rhonda's path has been a testament to self-creation, a refusal to be boxed in by labels. In her book Up All Night: From Hollywood Bombshell to Lingerie Mogul, she shares the lessons gleaned from a life spent dancing between entertainment and entrepreneurship, always with an eye on what's next.One of the most refreshing things about Rhonda is her unwillingness to bow to negativity. When the reality TV industry came knocking, hoping to manufacture conflict in her life, she turned them down. “I don't do drama,” she says. “I don't need to create problems where there are none.” This philosophy extends into her approach to life and business—where others see obstacles, she sees opportunities. Whether it's transitioning from comedy to commerce or proving that reinvention is possible at any stage of life, Shear radiates the certainty that success is about mindset as much as talent.Her journey isn't just about professional transformation; it's about love, too. In a twist straight out of a romantic comedy, she reunited with her high school sweetheart decades later, and together they built an empire. Their story reminds us that some things are destined to find their way back to us, no matter how much time has passed.Life, as Rhonda Shear so effortlessly demonstrates, is about embracing every chapter with humor and grace. The journey from late-night TV to the boardroom isn't as unlikely as it seems—it's simply the next scene in a story written by someone unwilling to accept limitations.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

A film editor's job is much like the work of a sculptor. You take a massive block of material—raw footage—and with a series of delicate, precise cuts, you shape it into something cohesive, something meaningful. In today's episode, we welcome Michael Trent, a master of cinematic storytelling who has spent his career assembling some of Hollywood's most unforgettable films. From the war-torn beaches of Saving Private Ryan to the eerie corridors of The Hatred, his work is the unseen hand that guides an audience's emotions, turning chaos into art.For Michael Trent, the journey into the editing room began long before he ever set foot in Hollywood. His father, a sound editor in England, introduced him to the craft at an early age. “I was using a Moviola by the time I was ten,” he recalls, describing the tactile magic of celluloid film. But talent alone wasn't enough to break into the industry—his leap from England to Hollywood in 1994 was an act of faith, a cold call to the right person at the right time, proving that the universe often conspires in favor of those who dare.Editing is not merely about cutting and pasting scenes together. It is about rhythm, about knowing when to hold a shot and when to move on. It is the balance between subtlety and impact, between quiet tension and explosive release. “I think a lot of editors cut too much,” Michael Trent shares. “You have to feel the emotion of a scene and let it breathe.” His work on The Hatred is a testament to this philosophy, particularly in its ability to sustain suspense, making audiences feel the presence of something sinister lurking just beyond the frame.One of the most fascinating aspects of his career was working alongside Steven Spielberg. Editing Saving Private Ryan meant moving between locations, from an Irish field to an aerospace museum in England, adapting to whatever environment was necessary. But beyond the logistics, Spielberg's ability to visualize an edit in his head was what amazed Michael Trent the most. “He called in from Japan with an edit suggestion, and when we made the change, it worked perfectly. It was as if he had a video camera inside his mind.”Horror editing, in particular, demands a unique approach. Timing becomes everything—not just in the obvious jump scares, but in the slow-building unease that keeps an audience gripping their seats.A shadow lingering a second too long, a door creaking open just slightly out of sync—these are the choices that make a horror film work. “There's a scene in The Hatred where Alice walks toward the cellar,” Michael Trent explains. “We held the shot longer than usual, just to build that sense of dread.”To be an editor is to be both an artist and a storyteller, sculpting not with clay or paint, but with time itself. The true test of an editor's skill lies not in what they add, but in what they take away. Sometimes, entire scenes—ones that took days to shoot—must be discarded for the sake of pacing and narrative flow. “You have to be ruthless,” Michael Trent says. “If it doesn't serve the story, it has to go.”Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Life, they say, is a story we tell ourselves—a script of experience, moments, and emotions woven into a narrative only we can claim as our own. On today's episode, we welcome Gordy Hoffman, a screenwriter, director, and the mind behind the BlueCat Screenwriting Competition. His journey through the labyrinth of storytelling has been marked by profound lessons in creativity, resilience, and the delicate art of telling tales that move the human heart.As he shares his insights, one thing becomes evident: the best stories are not formulas but living, breathing entities. Too often, writers are shackled by the idea that a script must be a well-oiled machine of plot points and three-act structures.But according to Gordy Hoffman, true storytelling is about emotional investment. “The only rule of storytelling is getting an audience to care,” he explains. Without that, no amount of structure or technique can save a lifeless script. Whether it's an Oscar-winning screenplay or a child recounting their day at school, the heart of a story lies in its ability to make someone feel something real.The conversation drifts into the art of critique—how some script consultants and teachers wield feedback like a sledgehammer rather than a guiding hand. Gordy Hoffman believes in nurturing creativity with kindness, rather than crushing it under the weight of harsh criticism. He's seen firsthand how a poorly delivered note can stifle a writer, and he champions an approach where constructive guidance fosters growth rather than fear. After all, a writer's vulnerability is embedded in their work, and the moment they detach from that, their stories lose their humanity.But what about the battle every writer faces—the looming doubt that creeps in halfway through a script, whispering that it's all meaningless, that every page is a failure?Gordy Hoffman reassures us that this despair is not a dead end but a marker of progress. “Every screenplay you work on, you're going to hit that wall where you think, ‘This is awful, I'm bored, and I want to start over.' That's when you know you're halfway there.” The magic, he insists, lies in persistence—pushing through the malaise, trusting the process, and understanding that the creative spirit is not meant to be shackled by self-doubt.The conversation inevitably turns to Hollywood, that glittering beast that both nurtures and devours dreams. The industry's appetite for franchise films and established intellectual property has made it harder than ever for original screenplays to find their place. But for those who believe in their stories, avenues still exist—film festivals like Sundance, independent productions, and even the evolving landscape of television. The key is not just writing a screenplay but crafting one so undeniable that it demands to be seen.And what of inspiration?For Gordy Hoffman, it can come from anywhere—a fleeting moment, a stray observation, or even an index card scribbled with a single thought. Love Liza, one of his most well-known works, was born from a brief encounter at a gas station. “I saw someone near a pump, and I thought, ‘Are they sniffing gasoline?' That small moment turned into a story about grief and addiction.” Such is the power of storytelling—it transforms the mundane into the extraordinary, giving meaning to even the smallest of moments.The beauty of storytelling is that it is never truly finished. It grows, shifts, and takes on a life of its own, sometimes in ways we never intended. As Gordy Hoffman reminds us, the path of the writer is one of perseverance, of believing in the story even when the world seems indifferent. In the end, storytelling is less about perfecting structure and more about opening the heart—to others, to ourselves, and to the infinite possibility of what can be created.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Michael G. Kehoe, a filmmaker who turned a whisper of an idea into the resounding voice of a feature film. From Brooklyn to Hollywood, from an eight-year-old boy watching his mother direct community theater to a director commanding his own set, Michael's journey is one of persistence, heartbreak, and sheer creative will.In this profound conversation, Michael G. Kehoe shares the winding road of his career, one marked by passion and loss. A pact among friends, the bright lights of New York, and the uncertainty of Los Angeles formed the backdrop to his early years. But it was a personal tragedy—the untimely passing of two close friends—that set the stage for his first short film, Second Dance. With no roadmap but a fierce determination, he crafted a story that not only resonated but landed him in the heart of Sundance, proving that even the smallest project can open the biggest doors.The journey didn't stop there. Years later, inspired by his twin boys' innocent bedtime fears, he penned a horror story that would eventually become The Hatred. Rather than waiting for a green light from the industry, he carved his own path. He created Hush, a short film that distilled the very essence of fear—the anticipation of the unknown.The reaction was immediate. Audiences jumped, festivals awarded, and industry heavyweights, including the producers behind Halloween, took notice. The lesson? The industry rewards those who show, not just tell.But success in Hollywood is rarely a straight road. Shooting The Hatred on a tight budget and an even tighter schedule meant adapting, improvising, and making every shot count. “Poverty breeds creativity,” Michael says, a testament to the resilience needed in independent filmmaking. Working with a largely female cast, he crafted a horror film that stood apart from the blood-soaked clichés, focusing instead on atmosphere, character, and tension. The result? A film that paid homage to the horror classics of the past while carving its own identity in the present.Of course, filmmaking is a collaborative art. Michael speaks of the relationships that make the journey worthwhile—the actors who return to work with him time and again, the cinematographers who bring his visions to life, and the producers who take a chance on passion over pedigree. “Surround yourself with people smarter than you,” he advises. A lesson as true for life as it is for film.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Curt Wiser, a writer and director whose journey proves that the path to making movies doesn't require a New York or Los Angeles zip code. From the sunny shores of Florida, Curt has forged his own cinematic destiny, creating the suspenseful and thought-provoking film Cam Girl—a story of isolation, control, and survival. But as with any journey worth taking, his was not without its trials.Filmmaking is often romanticized as an artistic dreamland, yet reality demands perseverance. Curt Wiser spent years writing scripts, refining his vision, and navigating the labyrinth of independent film production. He understood a fundamental truth—great stories come from deep within the storyteller. The seed of Cam Girl was planted not in a boardroom or a Hollywood studio, but in the quiet hours of personal discipline, writing at night after long workdays, shaping ideas into something tangible. He described his creative process as a structured yet fluid endeavor, saying, “I outline thoroughly, but when I start writing, it just pours out. I wrote the first draft of Cam Girl in 14 days.” Passion fuels discipline, and discipline, in turn, fuels success.His film, Cam Girl, takes a simple yet gripping premise—a woman working as a webcam performer who finds herself taken hostage—and transforms it into an intense, psychological unraveling. With one primary location and a tight cast, it is proof that compelling storytelling doesn't require a blockbuster budget. The industry often pressures filmmakers to define themselves within a niche, to follow trends rather than intuition. But Curt remains steadfast in his desire to explore diverse narratives, aware that Hollywood loves to box artists in, but true creators resist those constraints.Challenges are inevitable in both life and filmmaking, and Curt has encountered his fair share. Whether it was dealing with malfunctioning equipment, shifting schedules, or the ever-present financial constraints of independent cinema, he never allowed these obstacles to derail his vision. He understands that setbacks are not roadblocks, but rather, unexpected plot twists in the grand narrative of creation. “Filmmaking is like solving a puzzle while the pieces keep changing,” he mused. The lesson? You don't control the waves, but you learn how to ride them.Independent filmmaking is a test of patience, resilience, and the ability to pivot when necessary. Distribution, marketing, and audience reception all present their own set of challenges, but Curt embraces the uncertainty, knowing that each project is a stepping stone to the next.Cam Girl has found its way to audiences through Amazon and other platforms, an accomplishment that many filmmakers never reach. His approach to networking, to putting work out into the world, proves a vital point: persistence, not perfection, is what leads to opportunity.Filmmakers, writers, and creatives alike can take inspiration from Curt's journey. The industry is a maze, but the way through it is to keep moving. Too many aspiring artists get caught in the paralysis of waiting for the perfect moment, the perfect budget, the perfect conditions. But perfection is an illusion. Start where you are. Use what you have. Tell your story anyway.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

What if the greatest stories of our lives are the ones we never meant to write? On today's episode, we welcome Steven Bernstein, a man whose journey through the world of cinema has been anything but predictable. A writer at heart, a cinematographer by accident, and a director by destiny, his career is a living testament to the art of surrendering to the unknown. From his early days at the BBC to the sets of Hollywood blockbusters, his story unfolds like an unplanned masterpiece—one that ultimately brought him full circle, back to the thing he always loved: writing.In this profound conversation, Steven Bernstein recounts his journey from philosophy student to award-winning cinematographer, where his love of storytelling found an unexpected home behind the lens. He speaks of the curious ways life moves us, sometimes against our best-laid plans. “You tend to go with those things that are providing you income,” he muses, reflecting on how a passion for writing gave way to cinematography, leading him to films like Monster, Like Water for Chocolate, and Scary Movie 2. Yet, even as he shaped light and shadow for some of cinema's most striking images, the writer within him never faded.There is an undeniable poetry in the way Bernstein describes his work. He doesn't just shoot a film; he composes it, layering meaning through framing, movement, and light. Every choice—a dolly push, a backlight, an asymmetrical composition—whispers something to the audience. It's a language beyond words, one that he speaks fluently. “Everything to do with film is a language,” he explains. “And like any language, it's made up of two parts: that which we present and that which we mean.”His journey back to writing was not an easy one. After years of crafting imagery for others, he took a leap into directing his own films, starting with Decoding Annie Parker.It was a lesson in risk and resilience. At one point, he spent five years in poverty, refusing to return to the safety of cinematography. “If you hold out for the dream, maybe you achieve it,” he says. It is a stark reminder that the artist's path is often one of sacrifice, but those who persist find themselves richer in ways beyond money.Yet, Bernstein also understands the tension between art and commerce. Filmmaking is an expensive endeavor, and investors want guarantees. He describes the struggle of balancing creative vision with financial expectations, a dance between inspiration and limitation. And yet, some of the greatest filmmakers—Terry Malick, the Coen Brothers, Charlie Kaufman—have defied convention, proving that the most resonant stories often break the rules.The conversation moves to the nature of collaboration, the unspoken alchemy that happens on a film set when everyone is in sync. He recalls moments from Monster, where the crew, sensing the gravity of a scene, chose to remain completely silent, whispering only when necessary. It was an unspoken agreement, an offering to the art being created. “It was one of the most magical moments I remember in any film I've ever worked on,” he recalls. It is a glimpse into the rare, sacred spaces where true storytelling happens—not in the scripts, but in the spaces between them.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Matthew T. Burns, an individual who embodies resilience, creativity, and reinvention. Known to wrestling fans as "Sick Nick Mondo," Matthew has transitioned from his legendary career in ultraviolent wrestling to become a filmmaker, storyteller, and advocate for the art of storytelling. His journey is nothing short of a profound odyssey, weaving together themes of passion, pain, and redemption.The conversation begins with an exploration of Matthew's early days in professional wrestling. Growing up in Pennsylvania, he was drawn to the raw, unfiltered world of ECW wrestling—a stage of audacity and grit that mirrored his burgeoning desire to push boundaries. This rebellious spirit carried him into the extreme realm of deathmatch wrestling, where stunts with glass, barbed wire, and even weed whackers became his calling card. Yet, this wasn't just about shock value; as Matthew shared, "In the chaos of the ring, I found a strange, unrelenting clarity."Matthew's career in wrestling, however, wasn't without consequence. A pivotal moment came during a deathmatch tournament where a dangerous stunt left him severely injured. Despite his physical and emotional scars, he chose to leave wrestling on his own terms, marking the beginning of a profound personal transformation. Wrestling may have been his proving ground, but storytelling became his sanctuary.This shift led Matthew to pursue filmmaking, where he channeled his experiences into his debut film, The Trade. A blend of documentary and scripted storytelling, the film delves into his wrestling career and the connection he shares with Rory, a younger wrestler who idolized him and even adopted his persona in the ring. Their shared journey—a mix of admiration, mentorship, and cautionary wisdom—forms the emotional core of the project. Reflecting on this, Matthew remarked, “I never wanted my story to become someone else's pain.”As the conversation unfolds, Matthew reflects on his time in Japan, where he immersed himself in the film industry.He shares the highs and lows of navigating a foreign culture while honing his craft, emphasizing the importance of adaptability and perseverance. From acting roles to operating cameras, Matthew's journey in Japan became a crucible for refining his artistic vision.Now back in the United States, Matthew's focus is on bringing The Trade to broader audiences while exploring new creative ventures. He's brimming with optimism and gratitude for the lessons learned along the way. “Every chapter,” he says, “teaches us something vital about the next.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome the multi-talented Kim Ray, a writer, producer, and director whose career spans reality TV, documentaries, and scripted projects. Best known for her work on the Netflix documentary Gaga: Five Foot Two, Kim's journey through the industry is an inspiring tale of creativity, resilience, and innovation.Our conversation begins with Kim's fascinating experience co-writing West Bank Story, a parody of West Side Story that cleverly blended humor with themes of peace and cultural commonality. As Kim describes, “It was about showing that even in a world full of conflict, there's so much that connects us.” The project, which gained significant recognition, was a testament to her ability to merge art with meaningful messages.Kim's transition into reality television was both unexpected and transformative. While it wasn't her original focus, she brought her narrative expertise to shows like The X Factor and Kendra on Top. “Reality TV,” Kim explains, “requires storytelling that's just as nuanced as scripted work. You're shaping real moments into something cohesive and engaging.” Her work on these projects highlights her adaptability and deep understanding of human emotion.One of the standout points in Kim's career was producing Gaga: Five Foot Two. The project offered an intimate glimpse into Lady Gaga's life, showcasing her vulnerabilities and strength. Kim recounts the challenges of crafting such an unfiltered narrative, saying, “The magic was in the authenticity. Gaga was raw and real, and we wanted viewers to feel like they were walking alongside her.” The minimal crew and close collaboration created an unparalleled connection between the subject and the audience.Beyond her professional achievements, Kim's insights into the industry's evolution are enlightening. She speaks candidly about the systemic challenges women face in Hollywood, sharing how she navigated a landscape often dominated by male voices. Her reflections on the #MeToo movement underscore the importance of platforms like social media for amplifying marginalized voices. “It's a double-edged sword,” Kim notes, “but it's also a powerful tool for change.”Kim's current project, Violet's New Life, delves into the futuristic concept of consciousness transfer. The short film and pilot explore what it means to live again in a synthetic body, blending technology and human emotion. As Kim puts it, “It's not just about immortality—it's about the psychology of starting over, carrying the weight of one life into another.”Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

There's a certain magic in the way creativity stirs the soul, and on today's episode, we welcome Kristin Overn, a seasoned producer and the visionary behind the PAGE International Screenwriting Awards. With a career steeped in the art of storytelling, Kristin has spent years cultivating opportunities for writers to transform their ideas into scripts that resonate across the industry.Kristin's journey began in the theater world, studying playwriting and directing at Northwestern University. Her love for stories soon led her westward, to the bustling hive of Hollywood. "I've always been fascinated by story," she reflects. "It's the common thread that connects us all." In Los Angeles, she worked tirelessly—starting as an assistant and script reader, gradually earning her stripes in film production. But her heart's true calling emerged as she realized a profound gap in the industry: connecting new writers with emerging producers.This insight birthed the PAGE Awards, a screenwriting competition designed not just to showcase talent but to bridge the divide between raw creativity and industry access. Kristin's philosophy is simple yet profound: “Every great script deserves a champion, someone who sees its potential and helps it take flight.” Over the years, the competition has grown exponentially, now receiving over 6,000 entries annually. Its rigorous vetting process ensures that only the most compelling stories rise to the top—a beacon of hope for aspiring writers seeking their breakthrough.Kristin's candid advice to screenwriters is a reminder of the industry's complexity and the persistence it demands. “Find your voice,” she urges.“Don't try to be the next Quentin Tarantino or Diablo Cody. Be unapologetically you.” Her anecdotes, drawn from years of working with writers and producers, illustrate the transformative power of authentic storytelling—where characters leap off the page and evoke emotions that linger.The episode dives deep into the intricacies of screenwriting competitions, the challenges of script development, and the significance of receiving professional feedback. Kristin's passion for mentorship shines as she describes the thrill of connecting PAGE winners with managers, agents, and producers who can bring their stories to life. “There's nothing quite like seeing a writer's hard work pay off,” she says, with a palpable sense of joy.As the conversation unfolds, Kristin's wisdom offers not just technical insights but a deeper understanding of the human connection that underpins all great storytelling. Her belief in the power of perseverance and the beauty of imperfection reminds us that the road to success is often paved with lessons learned from failure.“At the end of the day,” Kristin concludes, “the stories that move us are the ones that come from the heart. They're honest, raw, and unapologetically human.” It's a sentiment that echoes long after the episode ends, leaving listeners inspired to pick up their pens and tell their own truths.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we are graced with Kristen Maldonado, a vibrant storyteller whose passion for pop culture and digital strategy has led her to roles like Social Media Manager at MTV's "Total Request Live." Kristen's journey from theater major to social media powerhouse is nothing short of inspiring, filled with twists, determination, and a lot of heart.Kristen started her career as a theater enthusiast before pivoting into journalism, where she discovered her love for entertainment reporting. Reflecting on her college days, she shares how a late switch to journalism opened doors, ultimately landing her a life-changing internship at Viacom. Her trajectory underscores a powerful lesson: "You have to do the work yourself; no one is going to hand it to you." This mantra has guided her through internships and into the digital realm of social media management, where she now thrives.Her passion for storytelling shines as she recounts her experience managing social media for iconic brands like MTV. Kristen explains the delicate art of digital strategy, where authenticity reigns supreme. “It's not just about putting content out there; it's about creating something people can genuinely connect with,” she emphasizes.From cutting viral clips for shows like "Ridiculousness" to brainstorming strategies for new TV launches, her work exemplifies the intersection of creativity and precision.Kristen's love for pop culture doesn't stop at her professional life; it spills over into her personal projects, including her YouTube channel. Here, she dives into reviews, interviews, and discussions about everything from movies to books. This channel, she says, started as a way to share her voice and explore her passions: “No one was going to put me on air, so I created my own platform.” Her journey as a content creator mirrors the entrepreneurial spirit she encourages in others.But even in a world of likes, retweets, and shares, challenges abound. Kristen talks about dealing with trolls and negativity, both on professional and personal platforms. Her response? Grace and kindness. “If someone doesn't like what I post, it's fine—they still watched it,” she quips. Her approach speaks volumes about maintaining balance and perspective in the sometimes chaotic digital landscape.Kristen also shares insights into the evolving social media landscape. She discusses the importance of natively posting content tailored to specific platforms, noting how even small details like video dimensions can influence engagement. The key, she says, is to stay authentic while paying close attention to what resonates with audiences.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

The landscape of existence can sometimes feel like a cosmic play—actors shifting between roles, creating stories that ripple through time. On today's episode, we welcome Phil Proctor, an artist whose life weaves a tapestry of creativity, resilience, and humor. Known for his work with the legendary Firesign Theatre and an illustrious voice acting career, Phil has left an indelible mark on the worlds of comedy, film, and beyond.Phil Proctor is not merely a performer; he's a storyteller who transcends mediums. Reflecting on his career, Phil shared how the Firesign Theatre's surreal humor was designed not only to entertain but to provoke thought. “We were asking, ‘What is reality?'” he explained. “It's the question you should ask every day when you get out of bed.” These words capture the essence of his work—a blend of laughter and philosophy that challenges conventional perspectives.Phil described how technology has transformed his craft. From the days of live radio to recording film dialogue remotely, he marveled at the evolution of his industry. With characteristic wit, he recounted a time he dubbed a French comedy for Mel Brooks, only to find the humor lost on American audiences. “The test audience thought we were speaking French!” he laughed. Moments like these underscore Phil's adaptability and humor in the face of creative challenges.Phil also opened up about the impact of his voice acting roles, such as his long-running portrayal of Howard DeVille in Rugrats. He reflected on the joy of connecting with audiences worldwide, even decades after the show's heyday. From cartoons to video games like Assassin's Creed, his performances have reached far and wide, bridging generational gaps.One of the most profound parts of our discussion was Phil's recollection of surviving the Golden Dragon massacre in 1977. Amidst the chaos, he found solace in an unexpected synchronicity: learning that his wife was pregnant with their daughter. “Life has a way of balancing tragedy with joy,” he mused. This event, along with its psychic premonition, became the foundation of his memoir, Where's My Fortune Cookie?Phil's stories often ventured into the metaphysical. He shared how the Firesign Theatre's comedy sought to “deprogram” audiences from societal conditioning, offering a fresh lens to perceive reality. This philosophy—wrapped in humor—resonates deeply in today's fast-paced, media-saturated world. “We were making funny connections,” he said, “exercising the brain to see the world anew.”Beyond his creative endeavors, Phil's zest for life shines through in his personal anecdotes. Whether reminiscing about working with Mel Brooks or delighting in his grandchildren's fascination with technology, he embodies a boundless curiosity. His ability to balance the absurd with the profound makes his journey a testament to the power of humor and resilience.As the episode drew to a close, one thing became clear: Phil Proctor is more than a performer; he is a philosopher of humor, an explorer of reality, and a living reminder of life's intricate, interconnected dance. His stories inspire us to embrace curiosity, resilience, and a healthy dose of laughter.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

When two brothers decide to turn their holiday traditions into a cinematic thrill, they step into a world where creativity is born from the mundane. On today's episode, we welcome Peter Paul and Tony Shaker, the innovative minds behind the indie horror film Killer Christmas. With the echoes of sleigh bells and the flicker of holiday lights, they invite us into their journey of making an 80-minute feature film against all odds.The Shaker brothers, hailing from New Jersey, embraced the modern age of filmmaking, proving that artistry no longer demands lavish sets or big studios. As Peter Paul aptly put it, “You can do this from anywhere, even in the middle of nowhere, if you're willing to put in the work.” From scriptwriting in their basement to editing with Adobe Premiere Pro, their story is an anthem for resourcefulness and determination.What began as a family tradition of Christmas tree cutting in western New Jersey blossomed into a creative spark. They envisioned an eerie story of a derelict retreat house and a masked Santa slashing through the cheer. This whimsical yet haunting idea became the bedrock of Killer Christmas. The brothers' vision materialized with long hours of planning, meticulous scriptwriting, and a bold decision—Tony quit his day job to chase the dream of making their first feature film.Filming on a shoestring budget came with its own set of hurdles. The Adler Hotel in Sharon Springs, New York, served as the perfect abandoned setting, but its ominous atmosphere wasn't just cinematic. The brothers encountered mysterious sounds, unexplained footprints, and eerie vibrations during their shoot. "It felt like the hotel was alive," Tony shared, reflecting on the uncanny experiences that added an authentic layer of unease to their film.From securing a location to overcoming sound challenges, the Shakers demonstrated that passion is the ultimate tool. They shot through snowstorms and frigid nights, relying on ingenuity and collaboration. Their DIY approach extended to props and effects—crafting realistic rubber weapons and digitally adding blood effects in post-production to adhere to safety and insurance standards.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Stories are the connective tissue of humanity. They reveal our commonality, our struggles, and our triumphs. And in the vibrant chaos of the world, some individuals rise with a unique ability to live, breathe, and tell these stories—through performance, words, and relentless passion. Today, we welcome Jenny Paul, an actress and producer who has graced both the stage and the screen with her ever-determined spirit. From the thrill of audition buses to the glow of marquee lights, her story is one of discovery, reinvention, and creative bravery.In her early days, Jenny Paul didn't always envision a life under the spotlight. A college journey steeped in the sciences and pre-med seemed like the logical path. After all, the family line carried the torch of medicine. But as life often does, the whisper of the theater grew louder in her soul.She described it as the moment where pre-med stress led her to a beautiful refuge—acting. "I realized I didn't have to help people as a doctor when I could tell stories that connect them to their own humanity." It's a revelation that many artists encounter—the power of creation to heal, uplift, and illuminate.The road to success, however, was neither instant nor smooth. She spoke fondly (and hilariously) of her early audition adventures in New York. Picture this: college weekends spent traveling on the infamous Chinatown bus, a transportation experience where even survival felt uncertain. But grit fuels passion. Jenny's first big break came with the musical Funny Girl in New York, where she played a role usually reserved for women decades her senior. It was a peculiar but prophetic start, teaching her to embrace any opportunity with both hands and a courageous heart.Her journey transitioned into film and television, a space where nuance thrives. Acting on stage had taught her to amplify, to project; film taught her the power of subtlety. That lesson came full circle when she landed her role in Jessica Jones. It was a playful audition—Jenny embraced her character's full fan-girl persona with comic charm. She recalled, "Sometimes you just have to throw yourself into it without overthinking. Be bold, be genuine, and have fun." Such simplicity in approach often holds the secret to great art.Beyond acting, Jenny has stepped behind the scenes as a producer. Like many artists, she found herself in a place where waiting for roles felt too passive. Producing, she explained, is about creating opportunities—for herself, for others, and for stories that need to be told.It's a lesson in creative autonomy and the entrepreneurial spirit that every modern artist must embrace.Discussed was her upcoming work, the Hulu series The Looming Tower, Jenny's tone shifted to reverence. Based on true events, the show dramatizes the tension between the FBI and CIA leading up to 9/11, offering a sobering look at miscommunication and its grave consequences. Jenny plays one of the “lemmings,” a young CIA analyst working under questionable leadership. Though her role may offer comic relief, the gravity of the story left its mark. "It's rare to work on something that feels like it truly matters, that tells a truth the world needs to hear."The beauty of Jenny Paul's story is its relatability. It's about perseverance in an industry where nothing is guaranteed, about finding fulfillment in both the work and the struggle. She reminds us that life's bus rides may be bumpy, the rejections many, and the roles unexpected, but the joy is in the doing. In showing up again and again.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we dive into the fascinating world of creativity, resilience, and the art of storytelling with Phillip Andrew, a multi-talented producer, motivational speaker, and DJ from Los Angeles. From his humble beginnings in Michigan to his relentless pursuit of opportunities in Hollywood, Phillip's journey is a testament to the power of determination, adaptability, and the enduring impact of great stories.Phillip reminisced about his early days navigating the entertainment industry, sharing candid insights about how unconventional networking—like a chance encounter on a basketball court—landed him his first job in production. Reflecting on this pivotal moment, he said, "You don't always know which door will open, but that's why you keep knocking on as many as possible." This philosophy underscores the importance of persistence, even when the odds seem insurmountable.In the heart of Hollywood, Phillip discovered the transformative power of storytelling. He spoke passionately about the evolution of stories—from ancient oral traditions to modern-day cinematic spectacles. Despite technological advancements, Phillip believes the core of storytelling remains unchanged: creating narratives that resonate deeply with people. He emphasized, “It doesn't matter how advanced the technology is—if the story doesn't connect, the audience won't care.”Phillip's journey wasn't without its challenges. From grappling with personal setbacks to navigating the unpredictable nature of film sets, he revealed how these experiences shaped his outlook. He humorously recounted a lesson from the legendary director Wes Craven, who once said, "Who told you things were ever supposed to go as planned?" This nugget of wisdom became a mantra for Phillip, helping him approach obstacles with creativity and a solutions-oriented mindset.A recurring theme in the conversation was leadership—on set and in life. Phillip shared a story about a showrunner who inspired him by personally crawling under a table to fix a light. This simple act of humility and teamwork left a lasting impression, reinforcing Phillip's belief that effective leaders must lead by example. He noted, “When people see that you're willing to do the work too, they'll want to go the extra mile with you.”Phillip also touched on the current "golden age of content," highlighting both the opportunities and challenges it presents. With an explosion of platforms like Netflix, YouTube, and Hulu, the barrier to entry has never been lower. However, this democratization of content also means creators face more competition than ever. For Phillip, the solution is simple: focus on the power of the story. “If you don't have a compelling reason for your audience to care, your content will get lost in the noise,” he warned.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome the dynamic duo, Lily Yasuda and Michael Wolfe, two inspiring filmmakers who have decided to take the road less traveled by creating their own feature film, Like Love. Their journey is one of collaboration, determination, and creativity—filled with moments of laughter and the occasional unexpected hurdle.From the outset, you'll sense the chemistry between Lily and Michael. They first crossed paths during their time at Chapman University, bonding over vulnerable and humorous writing assignments in a creative writing class. Their shared passion for storytelling sparked not only a friendship but also a creative partnership. This partnership culminated in the idea for Like Love, a project born out of their desire to challenge traditional romantic comedy tropes.“We wanted to tell a story that feels real and honest,” Lily shares, “about friendships and the complexities of human connection.”At its heart, Like Love is what they call an “anti-romantic comedy.” Drawing inspiration from classics like When Harry Met Sally, Lily and Michael aim to flip the script on the genre. Instead of perpetuating the myth that friendship between men and women inevitably leads to romance, their film explores the beauty of platonic relationships. As Michael explains, “It's about two friends trying to fall in love and realizing they're better off as friends. That's the kind of story we don't see enough.”Their filmmaking journey hasn't been without its challenges. Crowdfunding has been a pivotal part of bringing Like Love to life. Lily and Michael describe the process as “a full-time job in itself,” requiring not only meticulous planning but also a willingness to be vulnerable and open about their creative vision. They've leaned heavily on their network for support, finding generosity in unexpected places.“The community in Boise has been incredible,” says Lily. “People here are so supportive, offering locations, resources, and even homemade meals for the crew.”Despite the logistical hurdles, their passion for storytelling shines through. Michael, the film's director, admits that directing a micro-budget feature comes with unique pressures. “We're all wearing multiple hats,” he notes, “but it's an amazing experience to work so closely with a team that believes in the project.” Lily, who also stars as the film's lead, balances her roles as actor, writer, and producer with grace, emphasizing the importance of collaboration in every aspect of the project.As they reflect on their experiences, one thing becomes clear: Like Love is more than just a film; it's a testament to the power of community and perseverance. Lily and Michael hope their story inspires other aspiring filmmakers to take the leap. “Making a movie isn't easy,” Lily acknowledges, “but if you're passionate about your story, you'll find a way to make it happen.”Please enjoy my conversation with Lily Yasuda and Michael Wolfe.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Jim Wynorski, a filmmaker whose career is a kaleidoscope of genres, relentless creativity, and a staggering portfolio of over 160 films. Known for his ability to churn out projects with unmatched efficiency, Jim's journey through the cinematic landscape is nothing short of fascinating. From cult classics like Chopping Mall to unexpected forays into family-friendly territory, his career offers insights into filmmaking's raw, unpolished edges.In this conversation, Jim Wynorski shares the story of how he transitioned from directing commercials in New York to working under the legendary Roger Corman in Hollywood. "I packed up my stuff in a car and drove across the country. I struggled for a few years doing anything I could, and eventually, my scripts got into the right hands," Jim says. It's a tale of grit and determination, emblematic of the relentless pursuit of dreams that fuels so many creative spirits.Jim's approach to filmmaking is a study in versatility. Whether crafting low-budget horror or light-hearted family films, he has always been deeply attuned to audience preferences. He reflects on this ability, explaining how understanding the marketplace keeps him relevant. "You don't make a movie for yourself; you make it for the audience. If you don't, it's not going to sell," he advises, underscoring the pragmatism that has defined his work ethic.The discussion takes a humorous turn when Jim recounts some of the challenges of working with temperamental actors, including notorious on-set dramas. While he speaks fondly of most collaborators, a few experiences left lasting impressions. "Robert Culp, who I loved as a kid, was a prick and a half. He complained about everything—from the lenses to the meals. The entire crew booed him on his last day!" Jim laughs, offering a behind-the-scenes glimpse into the human side of filmmaking.But Jim isn't only about business and conflict—his passion for storytelling shines when discussing his favorite films and the joy of working in diverse genres. From the fantastical to the comedic, his projects reflect a deep curiosity about the possibilities of cinema."Each film took me to new places, both literally and creatively," Jim recalls, noting how travel and novelty kept the work exciting even during grueling production schedules.He also touches on the changing dynamics of the film industry, particularly the impact of digital platforms and the decline of physical media. Ever adaptable, Jim explains how these shifts inspired him to pivot from horror to family films, seizing opportunities in a dwindling DVD market. "I walked into Walmart, saw family films selling well, and decided to make one about a dog and Christmas," he says. The resulting success is a testament to his knack for spotting trends and evolving with the times.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

The craft of filmmaking is as much about the soul as it is about the frame. In today's conversation, we sit down with Kansas Bowling, a maverick filmmaker who began charting her creative course at just 17 years old. As the first graduate of the Troma Institute for the Gifted, Kansas burst onto the scene with her debut feature, B.C. Butcher, a cavewoman slasher filmed on 16mm. From that bold beginning, her journey has only intensified, guided by a vision both rebellious and deeply personal.Kansas embodies the heart of artistic defiance, carving her path outside the confines of conventional education."I thought it would be easier to just make a movie than go to film school," she reflects, and her success vindicates her instincts. Her philosophy is one of doing: creating without overthinking, trusting her voice, and stepping into the arena without waiting for permission. Her work ethic shines through her portfolio, from feature films to over 20 music videos, all captured on her beloved 16mm film.Kansas opens a window into her creative process. For her, filmmaking is as much about confidence as it is about technical skill. "Directing is just telling people what you want to see. Everything else, you can learn along the way." This candid wisdom is refreshing, cutting through the mystique often associated with creative mastery.With humor and humility, she explains her preference for shooting on film, emphasizing its "timeless look" that digital can never replicate.Despite the beauty of her craft, Kansas has faced challenges that mirror the rawness of her stories. From navigating the loss of her Instagram account due to a controversial post, to fielding inappropriate offers as a female filmmaker, she moves forward with resilience. "People always send me horrible scripts where the whole thing is just a giant sex scene," she shares, laughing off the absurdity. Yet, she balances these experiences with genuine collaborations, such as her role in The Electra Complex, a project she describes as "the most well-written screenplay I've ever read."When asked about her influences, Kansas rattles off a list of cinematic gems: F for Fake by Orson Welles, Midnight Cowboy, and the Italian classic Don't Torture a Duckling. These films, she notes, have a unique authenticity—a quality she strives to infuse in her own work.For Kansas, filmmaking isn't about mimicking others; it's about harnessing inspiration while remaining true to her distinctive voice.As she wraps up production on her second feature, Kansas is also directing multiple music videos, preparing for a shoot in Miami, and starring in a major project. Her days are packed, yet her focus remains sharp. The secret to her productivity? She simply follows her passion. "If you see a film in your head, just go out and make it," she advises, encouraging budding creatives to trust their instincts and take action.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

In today's episode, we welcome the brilliant comedic minds behind Chasing Molly: Shelley Pack and Josh Sutherland. Together, they share the odyssey of making an independent film from scratch, driven by pure creativity and an unwavering dedication to laughter and storytelling. Their journey is not just one of filmmaking but of persistence, grit, and a desire to carve a unique voice in the comedy genre.Shelley Pack brings her background as a comedian and improv performer, skillfully assembling a cast of friends and acquaintances to breathe life into Chasing Molly. With no big studios or massive budgets, Shelley and Josh poured their souls into the project. "It was liberating to create something genuinely funny without restrictions," Shelley reflects, highlighting how the freedom of independent filmmaking allowed her to maintain the authenticity of the comedy.On the other side, Josh Sutherland recounts his journey from a kid with a camcorder to a professional in Hollywood, working every possible crew position to understand the art and science of film. A student of cinema at the University of Texas, Josh entered the world of visual effects, gaining firsthand knowledge in various roles. When the opportunity arose to collaborate on Chasing Molly, Josh brought not only technical expertise but also a lifelong passion. "Filmmaking is a huge, huge team sport," he explains, underscoring the communal effort that went into producing the film.One memorable anecdote shared by Shelley and Josh is the challenge of shooting in a real pawn shop while it was open to the public. With customers oblivious to the filming, Shelley describes an eccentric woman examining items with a magnifying glass, fully engrossed in her shopping while the crew scrambled to finish the scene before sundown. Such improvisational moments added authenticity to the film, revealing the beauty and chaos of guerilla-style filmmaking.Shelley also speaks about the “Zen Cholo,” a character who emerged through social media sleuthing. Shelley found “Scar,” a YouTube personality with a massive social following, whose calm demeanor brought unexpected depth to the role of a gang leader. This resourcefulness in casting enabled the team to create a distinctive character who, as Shelley notes, is “like a Buddha with street cred,” adding unique charm to the film.In the end, Chasing Molly is more than a film; it's a testament to the idea that with a vision, a supportive crew, and a refusal to take “no” for an answer, anything is possible. As Josh says, “We set ourselves up to win,” and that victory is felt in every scene of this indie gemBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Jameson Parker, a seasoned producer with roots in theater, who's climbed the ranks in the world of film and television. As a Development Director at Bright Light Pictures, Jameson has developed a keen eye for projects that align with his passion and resonate with audiences. Starting as an actor, he transitioned to production, taking on the mentorship of industry veteran Sean Williamson, and carving a niche in the independent cinema space.Jameson shares his journey from pursuing theater in Vancouver to becoming a producer with a versatile portfolio, which includes films like Summer of 84 and the Netflix series Julie and the Phantoms. He explains the art of “breaking in” as an evolving process, emphasizing perseverance and the invaluable nature of mentorship in an industry where relationships shape opportunities. In his case, connecting with Sean was pivotal, as it granted him guidance and resources to navigate the challenging waters of production. As he aptly puts it, “There's an element of perseverance that permeates every success story—banging your head against the wall until the brick cracks.”In our conversation, Jameson reflects on the state of Hollywood's market-driven focus, where franchises and reboots often overshadow fresh, original stories. He believes true creative fulfillment lies in cultivating unique narratives rather than chasing trends.He references his experience with Summer of 84, which drew inspiration from classic thrillers and managed to resonate with audiences without the typical industry formulas. Jameson champions the importance of bringing something authentic to the screen, arguing, “If you chase what's doing well in the marketplace, you're always going to be behind the eight ball.”For Jameson, networking is less about formal events and more about building meaningful relationships. He recalls his serendipitous meeting with writer Matt Leslie at a networking event, which led to the development of Summer of 84. He stresses that genuine connections often lead to more fruitful collaborations than transactional exchanges. This philosophy has carried him through many projects, as he remains committed to developing authentic connections both on and off set.As the conversation deepens, Jameson delves into the complexities of producing for television versus film. Working with Netflix on Julie and the Phantoms, alongside renowned director Kenny Ortega, has been a “big learning experience” for him. He contrasts this with his independent projects, which allow for more creative control and hands-on involvement.The Netflix series exemplifies the evolving landscape of TV production, where platforms like Netflix provide vast opportunities but also introduce unique challenges due to their expansive, competitive nature.Jameson also speaks to the behind-the-scenes challenges producers face, especially in managing large teams on set. From navigating egos to ensuring open communication, he explains how these aspects shape the production experience. He acknowledges that problem-solving in production can feel overwhelming but emphasizes the importance of keeping a calm perspective. “If it can be solved with money, it's not really a problem,” he says, underscoring his pragmatic approach to navigating production obstacles.In a business defined by collaboration and trust, Jameson has thrived by working with familiar faces, valuing shared experiences over constant change. His career is a testament to the power of resilience, passion, and a deep-seated love for storytelling. As he anticipates his next independent film project, he remains committed to blending his studio experiences with his passion for independent cinema.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's episode, we welcome Sean Buckley, founder and CEO of Buck Productions. From humble beginnings to becoming a force in content creation, Sean's journey is a testament to persistence, passion, and adaptability. Through his story, he paints a vivid picture of the challenges of building a media production company from scratch, especially in an ever-evolving industry where technology has transformed the very nature of content creation. "Work ethic," he says, "is the backbone of success in this industry."Sean recalls the early days in 1994, when making content meant overcoming logistical obstacles that today's creators rarely face. Filmmaking then was a more arduous process, demanding significant manual effort, with analog, linear editing and physical deliveries of VHS tapes. In those days, getting a project off the ground involved cold calls and navigating skepticism. Sean emphasizes that those experiences, though difficult, were foundational. They shaped his resilience, a trait that he argues is crucial for creators even today.As the conversation delves deeper, Sean reflects on how the digital age has leveled the playing field. With tools now accessible to everyone, "the barriers to entry," he notes, "are almost gone." Anyone can shoot, edit, and publish content. But with the democratization of content creation, he warns, comes a saturation of voices. Success in this new landscape, he believes, demands not just access but talent and a relentless drive to stand out amid the noise. For Sean, having a unique perspective and refined storytelling craft remains paramount in a world awash with content.Despite the industry's rapid changes, Sean holds firm to his philosophy of diversity in storytelling. Buck Productions has a varied portfolio spanning feature films, unscripted shows, documentaries, and branded content. "Our business model is like a spectrum," he explains, "where creativity meets business acumen." This diversified approach has allowed Buck Productions to adapt to industry trends without being pigeonholed, and to prioritize meaningful projects. For Sean, content creation is both an art and a business, one that demands constant evolution and balance between vision and practicality.When asked about the influx of new content on platforms like YouTube and Netflix, Sean sees both opportunity and challenge. The vast amount of content now available has shifted the power dynamic from creators to audiences, who now decide when, where, and what they want to watch. "Today's audience has a ferocious appetite," he observes, "and they're the ones in control." This shift requires creators to think not only about what they make but also about how quickly they can adapt to audience demands.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have author, filmmaker and screenwriter Mick Hurbis-Cherrier.Mick  is an independent filmmaker and screenwriter. His works have been broadcast and shown around the country and have garnered prizes at many festivals including the Black Maria Film & Video Festival, Ann Arbor Film Festival, Athens Film & Video Festival and the Cin(e) Poems National Film Festival.His work has also been featured at the Robert Flaherty Seminar, the American Film Institute's National Video Showcase and at the Museum of Modern Art in New York City. His screenplays have also won prizes including the Arthur Miller Award for dramatic writing, the Lawrence Kasdan award for screenwriting and he was twice an award winner in the University Film & Video Association national screenwriting competition.Among his film projects are: River of Things, an alternative film in four parts based on four poems by Pablo Neruda and Fear Fall, a short narrative satire about paranoia and the squeezing of the American middle class, which he wrote, directed and produced.His recent commissioned feature screenwriting projects include Give Me Five, which he co-wrote (with Ron Bass) for La Petite Reine Productions, Mesopotamia 2020 for Picturesque films and Empire of Dirt for director Steve Ramser. He also penned Better That Way, the official English language stage adaptation of the film Une Liaison Pornographique (U.S. release title An Affair of Love).He is currently completing a gangster genre screenplay set in New Orleans entitled Force of Nature, also for Picturesque films.In 2011 Hurbis-Cherrier published the 2nd edition of his comprehensive narrative film production textbook Voice & Vision: A Creative Approach to Narrative Filmmaking. with Focal Press (originally published in 2007). In 2013 he published Directing: Film Techniques and Aesthetics 5th ed. (Focal Press) co-authored with Michael Rabiger.Both of these books are among the core film production textbooks in film programs throughout this country and internationally. Hurbis-Cherrier is currently working on the book, Practical Film Analysis and Inspired Filmmaking for the British Film Institute (BFI Publishing, Palgrave/MacMillan) which is scheduled for publication in early 2015.Enjoy my conversation with Mick Hurbis-Cherrier.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Tom Benedek is a screenwriter known for his work in the film industry. He was born on March 16, 1949, in Los Angeles, California, USA. Benedek has written several screenplays for movies across various genres. One of his notable works includes co-writing the screenplay for the 1984 science fiction film "Cocoon," directed by Ron Howard."Cocoon" was a critical and commercial success and received two Academy Awards for Best Supporting Actor and Best Visual Effects. The film tells the story of a group of elderly individuals who discover an alien life force that rejuvenates them, leading to a series of life-changing events.In addition to his work on "Cocoon," Tom Benedek has written other screenplays and worked on various projects in the entertainment industry.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have Jim Mercurio. Jim is a filmmaker, writer, and author whose screenwriting instruction has inspired tens of thousands of writers around the world. Creative Screenwriting ranked him as one of the country's top story analysts:“The best example of how an analyst can give concrete help without veering off the track of your story... (Jim) is not just telling you how to rewrite a particular script... but how to apply it to future work as well.”Jim works with Oscar-nominated and A-List writers as well as complete beginners. He adapts to each writer and script.Jim is a true champion for undiscovered writers and filmmakers. He produced Hard Scrambled which, like the horror-thriller he directed Last Girl, was discovered in a contest. The film stars Kurtwood Smith (That 70's Show) and indie stalwart Richard Edson. It premiered at Cinequest and won Best Dramatic Feature at Garden State Film Festival. His experience as a filmmaker informs his approach to the material. He helps you to execute your vision with vivid and cinematic storytelling that can attract allies like directors and producers.He directed more than 60 hours of Screenwriting education including the first 40 Workshops in the Screenwriting Expo Series including classes by some of the other top screenwriting teachers in the world.His own course Killer Endings was one of the best sellers from the collection. He wrote and directed Making Hard Scrambled Movies, filmmaking tutorials, as bonus material for Hard Scrambled's original release.The Washington Post called them “a must for would-be filmmakers.” Inspired by his work on the Expo series, Jim applied his entrepreneurial “go big or go home” attitude to the six-disc DVD set Complete Screenwriting: From A to Z to A-List, a behemoth of screenwriting instruction. It is one of the most comprehensive screenwriting resources in the world. It's a fast and furious ten hours with an hour of stunning motion graphics that help to explain seldom-discussed topics like theme, concept and character orchestration.Jim wrote The Craft of Scene Writing: Beat by Beat to a Better Script, the first-ever screenwriting book that focuses solely on scene writing.Together, Jim's course and book illustrate his forte, to illustrate advanced craft and nitty-gritty insight essential for mastery of screenwriting craft.Enjoy my conversation with Jim Mercurio.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have Emmanuel Oberg. Emmanuel is a screenwriter, author and script consultant with more than twenty years of experience in the Film and TV industry. After selling his first project to Warner Bros as a co-writer, he went on to be commissioned by StudioCanal and Gold Circle before writing solo for Working Title / Universal and Film4.He has also designed an internationally acclaimed 3-day Advanced Development Workshop - based on the Story-Type Method® - which he delivers with passion to filmmakers all over the world. Emmanuel lives in the UK with his wife and their two daughters. His film agent is Rachel Holroyd at Casarotto in London. He is also the writer of Screenwriting Unchained: Reclaim Your Creative Freedom and Master Story Structure (With The Story-Type Method).In Screenwriting Unchained, Emmanuel Oberg busts many myths and sets out an innovative methodThis practical, no-nonsense guide leaves behind one-size-fits-all story theories and offers a modern approach to story structure, making it a precious resource for anyone involved creatively in the Film and TV industry (or aspiring to be): writers, directors, producers, development execs, showrunners and, more generally, storytellers keen to reach a wide audience at home and abroad.Having identified three main story-types - plot-led, character-led, theme-led - Oberg reveals in a clear, conversational style how each of these impacts on the structure of any screenplay, and how we can use a single set of tools to develop any movie, from an independent crossover to a studio blockbuster.This leads to a powerful yet flexible way to handle the script development process: the Story-Type Method®. A new framework that doesn't tell you what to write and when, but focuses instead on why some tools and principles have stood the test of time and how to use them in the 21st century.According to readers (see reviews below), Oberg's new approach is a game-changer.Here are some of the easy-to-understand concepts explored in Screenwriting Unchained that will help you improve any screenplay:How to identify the story-type of your project to make its development faster, easier and solve most story structure problems.How to leave behind the prescriptive, logistical three-act structure based on page numbers or minutes and replace it with a flexible, dramatic three-act structure that will help you design a rock-solid screenplay.How focusing on emotion, character development and managing information will allow you to go beyond the "protagonist-goal-obstacles-conflict" basic chain of drama.How to use the fractal aspect of structure to design not only the whole story but also its parts in order to avoid the dreaded "sagging middle" syndrome and breathe new life into your script.How to clarify what's at stake and increase your chances of getting the project made with a new take on Maslow's Hierarchy of Needs.How to use subgoals to Sequence the Action and psychological/emotional steps to Sequence the Evolution of your characters.How to keep the audience engaged using tools like dramatic irony, surprise, mystery, and suspense, adding a third dimension to your story.How to master these tools and principles in scenes through practical exercises before using them in a short film, a feature film, a TV episode or a whole series following hands-on tips and advice.How to design an attention-grabbing opening and a satisfying ending.How to deal with hybrids and exceptions, as story structure isn't about forcing all narratives into a single formulaic paradigm.The Rewrite Stuff: 12 Ways to a Stronger Screenplay, how to approach a new draft creatively and efficiently.How to make the difference between selling documents - used to raise development or production finance - and story design tools.Once you've developed a killer script, how to best pitch your project according to its story-type and get enthusiastic partners on board....and much, much more!Using many case studies including films as diverse as Gravity, Silver Linings Playbook, Crash, Billy Elliot, The Intouchables, Birdman, Alien, Groundhog Day, Misery, Edge of Tomorrow, The Secret in Their Eyes, Cloud Atlas, L.A. Confidential and The Lives of Others, Screenwriting Unchainedwill transform the way you write, read, pitch, design, assess and develop screenplays.Enjoy my conversation with Emmanuel Oberg.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Sarah Elizabeth Mintz received her BFA from New York University's Tisch School of the Arts, where she completed her thesis film Transit, starring Dakota Johnson. After graduating she mentored with filmmakers Cary Fukunaga on True Detective, Joachim Trier on Louder Than Bombs, and worked with Alejandro Inarritu on The Revenant.Sarah was a Sundance Fellow in the 2017 Writer's Intensive and 2018 Sundance Strategic Financing Intensive with her project Good Girl Jane. She completed a short film of the same name starring Rachelle Vinberg (Skate Kitchen, HBO's Betty) and Travis Tope (American Vandal), with cinematography by Jake Saner (Ghosts of Sugar Land).The short premiered at the Raindance Film Festival in London. Good Girl Jane recently wrapped principal photography in Los Angeles starring Rain Spencer, Patrick Gibson and Andie MacDowell. Good Girl Jane is inspired by events in Sarah's own life.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Aram Rappaport is filmmaker based in New York. Originally from Los Angeles, he began writing, directing and producing in his late teens including the one-take experimental film HELIX starring Alexa Vega.He later adapted, produced and directed Max Berry's acclaimed novel into the film SYRUP starring Amber Heard, Shiloh Fernandez and Kellan Lutz and wrote, produced and directed the original film THE CRASH starring John Leguizmao, Frank Grillo, Minnie Driver and Dianna Agron.Set in the future when the US economy is on the brink of yet another massive financial crisis, The Crash tells the story of Guy Clifton, a federally-indicted stock trader, who is secretly enlisted by the federal government to help thwart a cyber-attack aimed at the US stock markets – an attack that could permanently cripple the economy.THE GREEN VEIL is his first episodic project.It's 1955 and Gordon Rodgers has a dream. It's the American Dream. And he almost has it made. He lives in the suburbs with his wife and daughter. He goes to church, he works for the government. A respected job for a respectable family man.Gordon also has a mission. A nefarious secretive mission on behalf of the US government. It's going well except for one final plot: The Sutton Farm. Owned by Native Americans Glennie and Gilberto Sutton, they refuse to be bought out. So Gordon must force them out by any means necessary. Maybe even abduct them. And it almost works, until the Suttons escape...At home, Mabel Rodgers is losing her mind. Playing housewife is taking its toll. How she wound up here from a military aviator career, she still doesn't know. When she discovers Gordon's' work folder marked CLASSIFIED she is drawn to the file. When she recognizes wartime friend Glennie Sutton as the mission's subject, she has no choice but to explore the case herself. And Gordon can never find out.Gordon's dream is slipping away. His mission at work is failing. He's losing control of his family. At what lengths will he go to hold it all together? At what cost to himself and others will he preserve his American Dream? Is this dream even meant for him...or is it all a conspiracy?He also runs the hybrid creative agency / production studio The Boathouse for which he's created and directed campaigns for such brands as Apple, Netflix, Victoria's Secret and SingleCare amongst others.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Brooks Elms is a screenwriter and independent filmmaker. His specialty is grounded personal characters and writing story tension so thick it knots up your stomach.He's written 25+ screenplays, a dozen of them on assignment, and sold several scripts, including one this year with Brad Peyton as Executive Producer. Brooks was recently hired to rewrite a screenplay started by an Oscar-winning writer. Brooks began his career writing, directing, and producing two indie features (personal dramas) that he screened all over the world.And Brooks also loves coaching fellow writers who have a burning ambition to deeply serve their audiences.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

If you were a kid of the late 80s or early 90s then today's guest definitely had an impact on your life. Larry Wilson is the co-creator of the cult classic Beetlejuice (directed by Tim Burton), writer of Addams Family and worked on the legendary television show Tales from the Crypt.Larry wasn't always a screenwriter, he worked on the studio side of things as well as an executive. In this interview, he tells the story of how he championed a young and pre-Terminator James Cameron to be the writer/director of Aliens. Great story! Check out some of his work below:Larry Wilson was also a screenwriting teacher at UCLA, arguably one of the best screenwriting programs in the world. He has continued to teach through his very popular workshops. His latest workshop Larry Wilson's Method to Madness-A Fantasy and Horror Workshop is filling up quick so sign up. Here's a bit about the workshop.As your teacher, my goal is to inspire leaps of imagination by creating an environment that resembles an awesome story conference—the kind myself and my partners experienced while creating Beetlejuice. First, that means we're allowed to be strange—I'll encourage your creative quirks and far-out ideas, as long as they're entertaining and help to tell your story. I'll be your guide for workshop writing assignments, role playing games, and group journeys through the dark realms that will keep you engaged and entertained while you're creating your best story—ever! We'll jump off the creative cliffs together. What I won't be doing is lecturing for hours, hoping you're staying awake. And, even if we're talking about the darkest story in the world, I'll make sure we're having fun (if we're not laughing, it's not happening). There's a method to my madness, I promise, and I also promise that you'll enjoy the ride.Below you'll find the episode of Alfred Hitchcock Presents that both Larry Wilson and Tim Burton worked on together and started their Beetlejuice adventures. The episode was called "The Jar.Enjoy my spooky and funny conversation with Larry Wilson.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Jocelyn Jones was raised in an artist's community on the Hudson River just 30 minutes north of Manhattan. This idyllic hamlet is home to some of the most influential artists of our time and it was here that her interest in art, artists and their process began.She is the daughter of Henry Jones, a character actor whose credits include some 40 films and over 300 televisions shows. Mr. Jones started out as a Broadway actor, most known for "The Bad Seed", "Advise And Consent" and his Tony Award-winning performance in "Sunrise at Campobello". Ms. Jones began her career at the age of 12, appearing alongside her father and E.G. Marshall in an episode of "The Defenders."Her work in motion pictures includes Clint Eastwood, "The Enforcer" "The Other Side of the Mountain" with Beau Bridges, Al Pacino's "Serpico" as well as starring in the cult classics "Tourist Trap" and "The Great Texas Dynamite Chase."Ms. Jones has appeared on stage in both New York and Los Angeles, most notably at The Mark Taper Forum, playing Greta Garbo in the world premiere of Christopher Hampton's "Tales From Hollywood." She has also appeared with Joe Stern's Matrix Theatre Company, where she played the delightfully insane Violet in George M. Cohan's farce "The Tavern" and as Constance Wicksteed, a spinster with a passion for large breasts, in Alan Bennett's farce "Habeas Corpus". She received critical acclaim for her role as Lucy Brown in Ron Sossi's groundbreaking production of "The Three Penny Opera", which famously utilized all three theaters of The Odyssey Theatre Complex for that same production.An in demand acting teacher for over 25 year, Ms. Jones has shepherded hundreds of actors from novice to starring careers and currently works with over a hundred hand picked actors, directors and writers at The Jocelyn Jones Acting Studio.Known as a "secret weapon" to some of the biggest stars in the industry, she has served as a confidential Creative Consultant, working on some of the highest-grossing pictures of all time. From advising artists on which projects to choose, to working with writing teams, to develop current and future projects, Ms. Jones' consultant work has been considered an invaluable asset to many.As a script doctor, she has served in every capacity, from page-one rewrites to final polishes- confidentially contributing to blockbuster films and television series alike. Her production company, Mind's Eye Pictures, is dedicated to producing her own original content.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Niceole grew up under the bright stars of the Mojave Desert before swapping them for bright lights of Los Angeles. Studying acting at the American Academy of Dramatic Arts yielded the epiphany that she preferred writing. She worked as a police dispatcher to pay her way through undergraduate USC, and then completed the Master of Professional Writing program, also at USC. An alum of the CBS Writers Mentoring Program, NBC's Writers on the Verge, and the WGAw Showrunner Training Program, Niceole has written on Ironside, Allegiance, The Mysteries of Laura, Shades of Blue, Cloak & Dagger, Fate: the Winx Saga, and S.W.A.T.She also co-wrote a feature, The Banker, with former Allegiance showrunner and director George Nolfi, available on AppleTV+. Niceole is currently a co-executive producer on Graymail, which will air on Netflix, and has several TV and feature projects in development. The Writers' Room Survival Guide is her first book.Writers' rooms can be a heaven or hell, depending on a few things. The best rooms foster inclusive and productive creative flow. The worst create a toxic stew of bad feelings and doubt. Both kinds and everything in between require basic knowledge of how the room works. These fundamentals are best learned before you go in. The mystery box of the writers' room need not stay sealed shut forever. Consider this book your crowbar.Please enjoy my conversation with Niceole R. Levy.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have Oscar® and two-time Emmy® Nominee Simon Kinberg.He has established himself as one of Hollywood's most prolific filmmakers, having written and produced projects for some of the most successful franchises in the modern era. His films have earned more than seven billion dollars worldwide. Kinberg graduated from Brown University and received his MFA from Columbia University Film School, where his thesis project was the original script, “Mr and Mrs Smith.” The film was released in 2005, starring Brad Pitt and Angelina Jolie.Upcoming, Kinberg will premiere his action spy film “The 355”, which will be released theatrically by Universal on January 7, 2022. Directed, co-written and produced by Kinberg, the film was one of the biggest deals out of the 2018 Cannes Film Festival and stars an ensemble of A-list actresses including Jessica Chastain, Lupita Nyong'o, Penelope Cruz, Diane Kruger and Fan Bingbing.A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355.When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong'o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Bingbing Fan, X-Men: Days of Future Past), who is tracking their every move.As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the opulent auction houses of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed. The film also stars Édgar Ramirez (The Girl on the Train) and Sebastian Stan (Avengers: Endgame).The 355 is directed by genre-defying filmmaker Simon Kinberg (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films). The screenplay is by Theresa Rebeck (NBC's Smash, Trouble) and Kinberg, from a story by Rebeck. The 355, presented by Universal Pictures in association with FilmNation Entertainment, is produced by Chastain and Kelly Carmichael for Chastain's Freckle Films and by Kinberg for his Kinberg Genre Films. The film is executive produced by Richard Hewitt (Bohemian Rhapsody), Esmond Ren (Chinese Zodiac) and Wang Rui Huan.His original series “Invasion” premiered on Apple TV+ on October 22nd. He co-created the show with David Weil, serves as Executive Producer, and wrote or co-wrote 9 of its first 10 episodes. It is considered one of Apple's most ambitious series to date as it was filmed on 4 different continents. The show has already been renewed for a second season, which Kinberg is show running and Executive Producing again. He is also the Executive Producer of the upcoming show “Moonfall” for Amazon. Also upcoming, Kinberg produced the sequel to "Murder on the Orient Express,” “Death on The Nile,” directed by Kenneth Branagh and starring Gal Gadot, Armie Hammer, Annette Bening and another all-star cast. Needless to say this is one heck of an episode. Enjoy my conversation with Simon Kinberg.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Robert McKee, A Fulbright Scholar, is the most sought after screenwriting lecturer around the globe. He has dedicated the last 30 years to educating and mentoring screenwriters, novelists, playwrights, poets, documentary makers, producers, and directors internationally. Those who have learned from McKee have called him "the Aristotle of our time" because of his insight into the substance, structure, style, and principles of the grand art of story.Peter Jackson (writer/director of The Lord of the Rings Trilogy, The Hobbit) has lauded him as "The Guru of Gurus." For the writers of Pixar (creators of Toy Story 1, 2, & 3, Finding Nemo), McKee's Story Seminar is a rite of passage. Emmy Award-Winner Brian Cox also portrayed McKee in the Oscar-nominated film Adaptation.McKee's former students include over 60 Academy Award Winners, 200 Academy Award Nominees, 200 Emmy Award Winners, 1000 Emmy Award Nominees, 100 WGA (Writers Guild of America) Award Winners, 250 WGA Award Nominees, and 50 DGA (Directors Guild of America) Award Winners, 100 DGA Award Nominees.A winner and nominee of BAFTA for his popular Channel Four series Reel Secrets, McKee also wrote and hosted 12 episodes of BBC's Filmworks series. He was profiled by Bob Simon of 60 Minutes for CBS news.McKee's articles on Story have also appeared in hundreds of newspapers and magazines around the world including Harvard Business Review, The Wall Street Journal, Vanity Fair, The New Yorker Magazine, Swiss Business Magazine, Sueddeutsche Zeitung, CBS Morning News, BBC, Channel 4 in UK, RAI (Italy), CBN Weekly News & Morning Glory (China), MBC TV, KBS & Arirang TV, Korea Times (South Korea), Kiev Weekly, Kultura Moscow, all major TV, Radio and/or newspapers of Argentina, Australia, Belgium, Brazil, Canada, Chile, Colombia, Germany, France, India, Israel, Mexico, New Zealand, Portugal, Russia, Turkey, Singapore, South Africa, Sweden, and Switzerland and given seminars in all of the above countries.Since 1984, more than 100,000 students have taken McKee's courses at various cities around the world: Los Angeles, New York, London, Paris, Sydney, Toronto, Boston, San Francisco, Helsinki, Oslo, Munich, Tel Aviv, Auckland, Singapore, Madrid, Beijing, Shanghai, Barcelona, Lisbon, Malaga, Hamburg, Berlin, Johannesburg, Rome, Stockholm, São Paulo, Santiago, Buenos Aires, Bogota, Beijing, Brussels, Rio de Janeiro, Moscow, Seoul, Istanbul, Hyderabad, Mexico City and many cities regularly.McKee continues to be a project consultant to major film and television production companies such as 20th Century Fox, Disney, Paramount, & MTV. In addition, Pixar, ABC, BBC, Disney, Miramax, PBS, Nickelodeon, Paramount, GLOBOSAT, MNET and other international TV and Film companies regularly send their entire creative and writing staffs to his lectures.His new book is Action: The Art of Excitement for Screen, Page, and Game.ACTION explores the ways that a modern-day writer can successfully tell an action story that not only stands apart, but wins the war on clichés. Teaming up with the former co-host of The Story Toolkit, Bassim El-Wakil, legendary story lecturer Robert McKee guides writers to award-winning originality by deconstructing the action genre, illuminating the challenges, and, more importantly, demonstrating how to master the demands of plot with surprising beats of innovation and ingenuity.Topics include:Understanding the Four Core Elements of ActionCreating the Action CastHook, Hold, Pay Off: Design in ActionThe Action McGuffinAction Set PiecesThe Sixteen Action SubgenresA must-add to the McKee storytelling library, ACTION illustrates the principles of narrative drive with precision and clarity by referencing the most popular action movies of our time including: Die Hard, The Star Wars Saga, Dark Knight, The Matrix, and Avengers: Endgame.Enjoy my conversation with Robert McKee.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Naomi Beaty is a screenwriting teacher, screenplay consultant, and former development exec with 10+ years in the entertainment industry.Naomi is based in Los Angeles, CA. She has worked on American productions and on projects in Taiwan and Australia, including the feature film "Ghost Boy", based on the novel by award winning Australian author Felicity Pulman, produced by Morning Starr Productions.Earlier, Naomi worked on the other side of the desk at Madonna and Guy Oseary's Maverick Films, where she helped develop projects including "Twilight" and "Percy Jackson".She just released her new book "The Screenplay Outline Workbook".The Screenplay Outline Workbook is designed to give you a clear and manageable set of tools, steps, and exercises so you can turn your ideas and inspiration into an outline and write your best screenplay – whether it's your first or your tenth.With this workbook as your guide, you can start with just an inkling of an idea – or nothing at all, even! – and end up with a solid story premise, compelling characters, and an outline that provides a blueprint for writing an emotionally satisfying screenplay.Inside you'll find enough instruction and theory so that you know what you need to know, but not so much that it overwhelms you before you even get started. Room to work through your story ideas and collect your notes and flashes of brilliance. A place to organize what you discover about your story as you develop it so that you can easily reference it when needed.Use the workbook to design a new story from scratch, or jump straight to the topic you need to get your work-in-progress unstuck. With 30+ tools, exercises, and prompts honed through years of teaching workshops and working one-on-one with writers, this workbook will help you:Generate new story ideasChoose a strong idea as the first step in writing a great screenplayBuild a sturdy foundation for your screenplay by finding the essential elements of the storyDiscover the organic three act structure and major plot points that create the framework for the story and screenplayDesign compelling characters that help push the protagonist along a meaningful character arcTry one or more suggested outlining methods for mapping out your story…and so much more!The workbook lays out a process that's flexible enough that you can use it for every screenplay you write, yet designed to specifically address the issues readers commonly find in aspiring screenwriters' screenplays.With each exercise, you'll explore ideas and make choices to build your story, piece by piece. You'll craft an outline that does all the heavy lifting, and be confident in the story you're telling – which frees you to get creative with characters and dialogue, and discovering the kind of magical, cinematic moments that made us all fall in love with movies in the first place.If you've tried to write a screenplay before but found yourself stuck somewhere in Act 2, having an outline that serves as a map of your screenplay can make all the difference. Consider this workbook the wise but gentle guide that will meet you where you are and lead you to your destination so you can finally make real progress turning the movie in your head into a fully developed story that you're ready to set down onto the screenplay page.When you're done you'll have more than an outline — you'll have a rock-solid foundation for your screenplay.Please enjoy my conversation with Naomi Beaty.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

This successful American screenwriter of comedies, many of which are remakes or adaptations of novels (i.e., "Brewster's Millions" 1985, "Pure Luck" 1991), had worked in collaboration with Timothy Harris. The Wisconsin-born Herschel A. Weingrod and his British-born partner have generally met with commercial approval for their efforts like "Twins" (1988) and "Kindergarten Cop" (1990), both of which benefited from headliner Arnold Schwarzenegger."Falling Down" (1993), which they co-produced, also became a box-office success, but their only real critical success to date has been "Trading Places" (1983), which paired Dan Aykroyd and Eddie Murphy.He has written and co-written a number of Hollywood blockbusters including Space Jam with fellow writer Timothy Harris.Enjoy my conversation with Herschel Weingrod.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Tom Schulman graduated from Vanderbilt University with a B.A. in Philosophy. He studied at USC Graduate School of Cinema, with Jack Garfein at the Actors and Directors Lab, Los Angeles, and with director Joan Darling. He directed the Actors' Studio first west coast production, Harold Pinter's The Caretaker.Tom wrote Dead Poets Society for which he received an Academy Award for best original screenplay. He also wrote What About Bob?, Honey, I Shrunk the Kids, Medicine Man, and Holy Man. He wrote and directed Eight Heads in a Duffel Bag He was an executive producer on Indecent Proposal and Me, Myself and Irene. He was the writer/producer of Welcome to Mooseport. He co-wrote and co-produced with Rafael Yglesias and J.J. Abrams, The Anatomy of Hope, a pilot for HBO. He recently wrote, with Callie Khouri, Trae Crowder, and T Bone Burnett, a pilot for Amazon.He recently wrote and directed Double Down South, an indie feature that will be released in April. Tom served on the board of directors and then as vice president of the Writers Guild of America, West. Tom was the president of the Writers Guild Foundation and serves on its board. He serves on the advisory board of the Science and Entertainment Exchange.Please enjoy my conversation with Tom Schulman.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have returning champion the legendary Linda Seger. Linda and I discuss her new book You Talkin' to Me?: How to Write Great Dialogue. We do a deep dive into how to write great dialog. Here's a bit about the book.Unlike the chitchat of everyday life, dialogue in stories must express character, advance the story, suggest a theme, and include a few memorable lines that audiences will be quoting for decades to come. The best stories have dialogue that sparkles, but it's easy for inexperienced writers to fall into common pitfalls like creating dialogue that's wooden or too on the nose.Other writers end up with exposition awkwardly inserted into conversations, actors tripping over unnatural phrases or characters who all speak exactly the same way. In You Talkin' to Me? Linda Seger and John Winston Rainey are here to help with all your dialogue problems. In each chapter, they explore dialogue from a different angle and discuss examples of great dialogue from films and novels. To cap it all off, each chapter ends with examples of poor dialogue, which are annotated by Linda and then rewritten by John, so readers don't just learn how to recognize when it's done well―they also learn how to make the dialogue better. Whether you're writing fiction or nonfiction, for the screen or for the page, this book will get your characters talking.Ron Howard says he never starts a film without her book. Having authored nine books on scriptwriting, including the best selling Making A Good Script Great, Linda is one of the most prolific writers in her field. Enjoy my conversation with Linda Seger.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

On today's show, I'm going to discuss screenwriting scams that ALL screenwriters should be aware of and avoid at all costs. It never surprises me how predatory people can be with screenwriters and filmmakers in this business.I did an episode exposing ways screenwriters can get screwed on writing assignments. I do a deep dive into each of the following scams in the show.The Free Option - Optioning your screenplay for freeAgent Reading FeesScript Consults That Ask for a Backend CutScreenwriting Marketing ServicesScreenwriting Contests - PromisesScreenwriting Contests - Milking TechniqueGhost Writing ScreenplaysAny Deal That Gives Your Rights AwayRepresentation Retainer FeeScreenwriting Contests Warning SignsStay safe out there guys. Sharks are everywhere. Enjoy!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we Pen Densham. Pen is a successful award-winning screenwriter, producer, and director, with an extensive track record in film and television. He is responsible for writing and producing some of Hollywood's biggest blockbusters, such as Robin Hood: Prince of Thieves, Backdraft, Blown Awayalong with some of its longest-running television series including The Outer Limits.Starting with his first job in show business, riding atop a live alligator for a theatrical short film made by his parents, Pen decided to leave his English school system at age 15 and has since spent his lifetime in the business of entertainment, selling films and television series, as well as hiring, mentoring and collaborating with A-list writers along the way. His latest film is Harriet, which he is the executive producer of.Pen's latest project, Riding the Alligator: Strategies for a Career in Screenplay Writing and Not getting Eaten was written with one clear goal in mind: to write the kind of book he would have loved to have read when he was starting out as a writer-filmmaker. Pen is also an adjunct professor at the University of Southern California's prestigious School of Cinematic Arts."Imagination is more important than knowledge. For while knowledge defines all we currently know and understand, imagination points to all we might yet discover and create."- Albert EinsteinI had a ball speaking to Pen about his time in Hollywood, what it was like to screenwriter/producer monster hits and his screenwriting philosophy on how to make it in Hollywood.Enjoy my eye-opening conversation with Pen Densham.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Fast-talking and feisty-looking John Leguizamo has continued to impress movie audiences with his versatility: he can play sensitive and naïve young men, such as Johnny in Hangin' with the Homeboys; cold-blooded killers like Benny Blanco in Carlito's Way; a heroic Army Green Beret, stopping aerial terrorists in Executive Decision; and drag queen Chi-Chi Rodriguez in To Wong Foo, Thanks for Everything! Julie Newmar.Arguably, not since ill-fated actor and comedian Freddie Prinze starred in the smash TV series Chico and the Man had a youthful Latino personality had such a powerful impact on critics and fans alike. John Alberto Leguizamo Peláez was born July 22, 1960, in Bogotá, Colombia, to Luz Marina Peláez and Alberto Rudolfo Leguizamo.He was a child when his family emigrated to the United States. He was raised in Queens, New York, attended New York University and studied under legendary acting coach Lee Strasberg for only one day before Strasberg passed away.The extroverted Leguizamo started working the comedy club circuit in New York and first appeared in front of the cameras in an episode of Miami Vice. His first film appearance was a small part in Mixed Blood, and he had minor roles in Casualties of War and Die Hard 2 before playing a liquor store thief who shoots Harrison Ford in Regarding Henry.His career really started to soar after his first-rate performance in the independent film Hangin' with the Homeboys as a nervous young teenager from the Bronx out for a night in brightly lit Manhattan with his buddies, facing the career choice of staying in a supermarket or heading off to college and finding out that the girl he loves from afar isn't quite what he thought she was.The year 1991 was also memorable for other reasons, as he hit the stage with his show John Leguizamo: Mambo Mouth, in which he portrayed seven different Latino characters. The witty and incisive show was a smash hit and won the Obie and Outer Circle Critics Award, and later was filmed for HBO, where it picked up a CableACE Award.He returned to the stage two years later with another satirical production poking fun at Latino stereotypes titled John Leguizamo: Spic-O-Rama. It played in Chicago and New York, and won the Drama Desk Award and four CableACE Awards. In 1995 he created and starred in the short-lived TV series House of Buggin', an all-Latino-cast comedy variety show featuring hilarious sketches and comedic routines.The show scored two Emmy nominations and received positive reviews from critics, but it was canceled after only one season. The gifted Leguizamo was still keeping busy in films, with key appearances in Super Mario Bros., Romeo + Juliet and Spawn. In 1998 he made his Broadway debut in John Leguizamo: Freak, a "demi-semi-quasi-pseudo-autobiographical" one-man show, which was filmed for HBO by Spike Lee.Utilizing his distinctive vocal talents, he next voiced a pesky rat in Doctor Dolittle before appearing in the dynamic Spike Lee-directed Summer of Sam as a guilt-ridden womanizer, as the Genie of The Lamp in the exciting Arabian Nights and as Henri DE Toulouse Lautrec in the visually spectacular Moulin Rouge!.He also voiced Sid in the animated Ice Age, co-starred alongside Arnold Schwarzenegger in Collateral Damage and directed and starred in the boxing film Undefeated. Subsequently, Leguizamo starred in the remake of the John Carpenter hit Assault on Precinct 13 and George A. Romero's long-awaited fourth "Dead" film, Land of the Dead.There can be no doubt that the remarkably talented Leguizamo has been a breakthrough performer for the Latino community in mainstream Hollywood, in much the same way that Sidney Poitier crashed through celluloid barriers for African-Americans in the early 1960s.Among his many strengths lies his ability to not take his ethnic background too seriously but also to take pride in his Latino heritage.Please enjoy my conversation with John Leguizamo.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today on the show we have returning champion Karl Iglesias. His last episode is one of the most popular shows ever in the history of the podcast. I wanted to bring him back to dig deeper into his thoughts on writing for emotional impact and breakdown the essential elements of every good story.Karl Iglesias has been a writer for over 20 years now with varying degrees of success — an option here, a couple of contest finalists and winners there, an indie development deal, many writing and script-doctoring assignments, a TV spot for a Coca-Cola campaign — and of course, his first published book, The 101 Habits of Highly Successful Screenwriters, which ignited my unplanned teaching and consulting career, and my second book, Writing for Emotional Impact. Since then, he has contributed to two other books on the craft, Now Write! Screenwriting and Cut to the Chase.In between teaching and consulting, Karl keeps busy script doctoring for other writers, directors, and producers when the work comes his way, while developing his own scripts, having about ten projects in various stages of development.Enjoy my conversation with Karl Iglesias.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Marcus Dunstan's screenwriting with his partner, Patrick Melton, include such horror films as FEAST 1-3, SAW IV-V-VI& SAW 3D THE FINAL CHAPTER, PIRANHA , GOD OF WAR, FINAL DESTINATION 6, and SCARY STORIES TO TELL IN THE DARK. Marcus Dunstan's directing credits include THE COLLECTOR, THE COLLECTION, THE NEIGHBOUR, BLUMHOUSE'S PILGRIM and this summer's BLUMHOUSE PRESENTS: UNHUMAN.Dunstan is a producer of THE CANDIDATE, and executive producer of 2022's horror-thriller TAKE BACK THE NIGHT. Currently Dunstan and Melton are collaborating once again with Blumhouse and Disney + on a soon to be announced suspense thriller series, as well as the horror film ESCAPE: HALLOWEEN with Live Nation and Insomniac.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today's guest is screenwriter and Hollywood script doctor Peter Douglas Russell. I wanted to go deep into the back alleys of what Hollywood script doctors actually do in the business. Peter's conversation was eye-opening, to say the least.Peter Russell sold two television pilots in 2017. He enjoys working on projects both as a ghostwriter and as a consultant.  And he can both write and teach what he knows. So many successful screenwriters and producers have no idea how to teach what they do, and so many teachers can't actually sell stories. But Peter does both. Peter was UCLA's Teacher of the Year in 2009. He invented (along with his then partner Cecilia Najar) a process called The Storymaker which you can use to quickly develop an original, complex, vivid story from a single idea — and the Storymaker is helping scores of his students shape wonderful stories.Peter started as a story analyst in the 1990s and has read over 6,000+ screenplays for major film and television giants including Imagine Entertainment, Participant Productions, HBO, CBS, Walden Entertainment and dozens of others.As he read these scripts, he started seeing deep, hidden patterns in the best stories. He wrote these down and started getting jobs FIXING writer's stories. He got good at it — really good.Peter was invited to teach at UCLA in 2004, and it became a passion, too.  He has now been invited to teach television pilot and film story creation at Pepperdine University's Seaver College Screenwriting MFA program, at Story Expo in LA and New York, and many others. Meanwhile, Peter has turned The Storymaker into the most powerful tool for helping storytellers create original vivid stories. Simply and quickly.Enjoy my conversation with Peter Douglas Russell.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Simone Bartesaghi is an Italian award-winning filmmaker who has been recognized by the Directors Guild of America (DGA) and AMPTP (Alliance of Motion Picture and Television Producer) as an artist with "Extraordinary Ability in Directing”.At the age of 24 Simone received his Master's Degree in Economics at the University of Pisa, Italy. Three years later he established a successful Consulting Company specializing in Corporate Organization and Planning. In 2001 he gave up his thriving career to pursue his childhood dream.Two years later he won several prizes as the Writer/Director of short films, but the highest recognition came when he won the first and second place at the Milan International Film Festival, and became the recipient of both the Top and second Award, TWO Scholarships for THE LOS ANGELES FILM SCHOOL.Only four years after his arrival in the United States, he directed his first feature film DOWNSTREAM, that acquired a theatrical release and also received the prestigious Accolade Award.Simone's second feature RUN, a 3D film that he wrote and directed, has won several prizes including Best Screenplay and Best Emerging Director and is distributed in USA by Millennium. The movie is about the new discipline Parkour (Freerunning) with a rich cast including Eric Roberts (The Dark Knight), Adrian Pasdar (Heroes), Kelsey Chow (Pair of Kings) and William Moseley (Chronicles of Narnia).Simone's accomplishments and communicative skills have been recognized by many educational organization around the world and he is now an Adjunct Professor in Filmmaking at the prestigious Santa Monica College.Simone is also a published author with his book "The Director's Six Senses", an innovative, unique, and engaging approach to the development of the skills that every visual storyteller must have. The Director's Six Senses is an innovative, unique, and engaging approach to the development of the skills that every visual storyteller must have. It's based on the premise that a director is a storyteller 24/7 and must be aware of the “truth” that he or she experiences in life in order to be able to reproduce it on the big screen. Through a series of hands-on exercises and practical experiences, the reader develops the “directorial senses” in order to be able to tell a story in the most effective way.Enjoy my conversation with Simone Bartesaghi.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.