Podcasts about filmmakers

Welcome to the DMF!I'm Justin Younts, and in this episode, Sara Alessandrini opens up about the chaotic and often brutal world of documentary filmmaking.Sara walks us through the challenges she faced while creating her documentary — challenges that went far beyond the expected hurdles of production. She dealt with legal threats, bullying, and intense pushback from some of the very people she interviewed. What was meant to be a creative pursuit quickly revealed the darker, more hostile side of the industry.Throughout the episode, Sara explains how she navigated these obstacles: managing aggressive interviewees, protecting herself legally, and fighting tirelessly to get her film accepted into festivals. She shares the emotional toll the project took on her and the determination she needed to keep her vision alive despite the odds stacked against her.For Sara, this journey wasn't just about making a film — it became a test of strength, resilience, and integrity. She discusses the importance of due process, the complexities of handling real stories responsibly, and what it means to stand your ground in a competitive and often unforgiving industry.If you're an aspiring filmmaker or simply curious about the behind-the-scenes realities of documentary production, this episode offers raw insight, hard-earned lessons, and inspiration to keep pushing forward no matter the challenges.Join us as Sara pulls back the curtain on the truth, the chaos, and the courage it takes to tell a story that matters.00:00:01 - Introduction00:00:06 - The Role of Politicians00:00:42 - The Making of the Documentary00:01:30 - Challenges in the Film Industry00:01:49 - The Process of Making a Documentary00:01:59 - The Impact of Bullying in the Film Industry00:02:02 - The Fight for Ownership of the Documentary00:02:14 - The Transition from a Documentary to a Mini Series00:02:25 - The Release and Reception of the Documentary00:02:36 - The Politics Behind the Documentary00:04:09 - Legal Challenges and Threats00:04:32 - The Screening of the Documentary00:08:01 - The Confrontation at the Film Festival00:09:08 - The Aftermath and Ongoing Legal Issues00:10:39 - The Attempt to Sabotage the Documentary00:11:18 - The Aftermath of the Screening00:11:43 - The New Documentary Project00:12:16 - The Motives Behind the New Documentary00:12:45 - The Scam Behind the New Documentary00:13:16 - The Desire for Fame and Recognition00:14:00 - The Misunderstanding of the Role of a Producer00:15:06 - The Reality of the Movie Industry00:15:11 - The Problem of Unfinished Movies00:15:25 - The Misuse of Funds in Film Production00:15:40 - The Need for Legal Protection in the Film Industry00:16:04 - The Issue with Personal Motives in Film Production00:16:29 - The Miscommunication of Risk in Film Funding00:16:50 - The Misrepresentation of Film Producers00:18:00 - The Influence of Current Events on Documentary Editing00:19:38 - The Challenges of Editing a Documentary00:21:09 - The Process of Distributing a Documentary00:22:03 - The Role of Aggregators in Film Distribution00:22:57 - The Decision to Self-Distribute00:23:51 - The Process of Getting a Documentary Approved for Distribution00:24:42 - The Role of AI in Film Editing00:28:32 - The Future Plans of the Filmmaker00:30:34 - Daily Routine and Meditation00:31:37 - Physical Fitness and Sports00:32:26 - Reading and Family History00:33:25 - Music Preference00:33:40 - Watching Habits and Recent Movies00:35:22 - Contact InformationCheck out Sara's website, where you can learn more about the documentary miniseries and find links to watch it! https://www.thisiswhatnewyorkerssay.com https://www.instagram.com/lasava.alessandrini/

"Kokuho" is a Japanese drama film directed by Lee Sang-il, written by Satoko Okudera, and based on a novel of the same name by Shuichi Yoshida, starring Ryo Yoshizawa, Ryusei Yokohama, Mitsuki Takahata, Shinobu Terajima, Min Tanaka, and Ken Watanabe. It tells the story of a young boy who devotes himself to the traditional theatre of kabuki under the tutelage of a famous actor, aspiring for the same level of greatness someday. The film had its world premiere in the Directors' Fortnight section of the 2025 Cannes Film Festival, where it received critical acclaim. It would go on to find commercial success in Japan, even increasing kabuki ticket sales. It has been selected as the Japanese entry for the Best International Feature Film Oscar at the 98th Academy Awards. Filmmaker Lee Sang-il and star Ryo Yoshizawa were kind enough to spend some time speaking with us about their work and experience making the film, which you can listen to below. Please be sure to check out the film, which is set for a limited one-week qualifying release on November 21st in New York from GKIDS. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Documentary First, host Christian Taylor welcomes back Emmy-nominated director and producer Nicholas (Nick) Bruckman for his third visit to the show. Together, they pull back the curtain on the real world of documentary filmmaking—from getting into top festivals like Sundance and Tribeca, to navigating labs and markets, to landing a doc on Netflix.Nick shares how his early narrative feature Valley of Saints got into Sundance off a “cold” submission, and how he's since used programs like Gotham Week, Film Independent's labs, and Tribeca's Creators Market to build meaningful relationships with programmers and industry partners. He breaks down his rough-cut screening process (including Google forms and phone-watching “tells”) and explains why being radically open to feedback is one of the most powerful tools a filmmaker has.Christian and Nick also dive into Minted: The Rise and Fall of the NFT, exploring why that film became Netflix's “definitive” NFT documentary—and what that reveals about marketplace demands, cultural buzz, and why some critically acclaimed films (Not Going Quietly) still don't land on major streamers.The conversation then turns to Nick's latest four-part docuseries, The Price of Milk, which premiered at Tribeca. Christian shares her strong personal reaction to the series, especially its portrayal of small family dairy farmers and the government “checkoff” program that was supposed to support them. Nick unpacks the hidden story behind the “Got Milk?” campaign, how money flows from farmers to industry groups, and why transparency, policy, and political engagement matter more than simply switching what's in your grocery cart.Finally, Nick reveals how Oatly helped fund The Price of Milk while still allowing full editorial independence—and offers practical advice for filmmakers on working with brands, nonprofits, and mission-aligned partners to get ambitious projects made and seen. He closes with a DocuView Déjà Vu recommendation: Secret Mall Apartment, a doc that not only tells a wild story but also models what's possible with clever, independent distribution outside traditional gatekeepers. Links:Minted - on Netflix & Prime Video, IMDB: https://www.imdb.com/title/tt27548035/?ref_=fn_all_ttl_1Valley of Saints - on Prime Video, IMDB: https://www.imdb.com/title/tt2088967/?ref_=fn_all_ttl_3Catapult Film Find: Catapult Film FundGotham Week: Gotham WeekTriBeca X: Tribeca XPeoples TV: People's Television DocuView Déjà VuSecret Mall Apartment, 2024, 91 mins, Watch on Prime Video, IMDB Link:

Filipino Stories in Film – Made in Melbourne showcases a collection of short films about identity, migration, and family, all told by Filipino-Australian filmmakers. Each filmmaker brings their own perspective, creating a set of stories filled with memory, humour, and heartfelt emotion. - Ang Filipino Stories in Film – Made in Melbourne ay isang koleksyon ng mga maiikling pelikula tungkol sa pagkakakilanlan, migrasyon, at pamilya, na gawa ng mga Filipino-Australian filmmaker. Bawat filmmaker ay nagdala ng kanilang sariling pananaw sa mga pelikula.

  Longtime friend and collaborator of Lydia and friend of The Lydian Spin, Jasmine returns to the show. She is a filmmaker and artist who wrote letters to Aileen Wuornos and later conducted a filmed interview with her on death row in 1997. Jasmine's footage appears in the new Netflix documentary Aileen: Queen of Serial Killers; Wuornos had asked her to record her story before the execution to provide an account she felt the media had misrepresented. Jasmine is working on her own documentary, which is currently in progress. Jasmine and Lydia have also collaborated on the documentary and Artists Anxiety Depression and Rage.

We sit down with filmmaker Alannah Swenka at the Snake Alley Festival of Film to talk about her roots studying to be a mime and keeping an open mind to pivoting your creative goals, the importance of networking at film festivals like SNAFF, planning ahead in preproduction and hiring the right people behind the scenes to ensure a safe film set, and so much more.

You know when one of your reviews is "I'm not sure if Kenneth will break into song at any moment", you're either getting something that's gonna be awesome or bordering on disaster. This film is a mixed bag, which is ironic, because MARY SHELLEY'S FRANKENSTEIN, directed and starring Kenneth Branagh, is about a mad scientist who takes a bunch of dead bodies, stitches them together and brings them back to life. It's a tale as old as 1818, as they say. If the dazzling lights of contraptions pulsating, buzzing, and electrifying don't grab you, Kenneth's washboard definitely will!

The STRANGE Case of the Vanishing FilmmakerBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

In this Film Ireland Podcast, we're shining a spotlight on the Dublin International Comedy Film Festival (DICFF), which returns for its sixth edition from 27th - 30th November, to Tailors' Hall, The Liberties. First up, festival director Mo O'Connell talks through this year's jam-packed programme. Then we have a live recording from the first heat of the DICFF stand-up competition, held earlier this year in collaboration with Culture 8 and the Dublin Liberties Distillery. Finally, Film Ireland contributor Rachel Melita is in conversation with actor, writer, and filmmaker Laoisa Sexton. Laoisa's short I Can't Go On screens as part of Shorts Block F on Friday, 29th November. As Mo mentions in the podcast, here is the GoFundMe link to support Haneen Koraz, as she empowers the children of Gaza through art. https://www.gofundme.com/f/help-haneen-koraz-empower-voices-through-art And here's a link to support Aisling & her three boys, Ted, Sonny & Max. https://www.gofundme.com/f/support-for-aisling-and-her-three-boys-ted-sonny-and-max This episode has been made possible with the support of Coimisiún na Meán and the Screen Ireland Stakeholder's Scheme. Read more about this podcast here www.filmireland.net/podcast-festival-director-mo-oconnell-filmmaker-laoisa-sexton-at-dicff

Jonah Feingold https://www.imdb.com/name/nm3783212/ talks about connecting with your parasocial audience to create the films you want to make. And he shares why he got in front of the camera in his latest film, "31 Candles."Matt and Oren get Jonah to talk about filming in New York and how a living city creates one-off opportunities that plus your scene. And the three chat about product placement and the real benefit filmmakers can get from YouTube. You can connect with Jonah at jonahfeingold.nyc and on IG: @jonahfeingold---Help our Patreon! https://www.patreon.com/JustShootItPodMatt's Endorsement: "They Came Together" w/ Amy Kohler and Paul Rudd https://www.imdb.com/title/tt2398249/Oren's Endorsement: whisper.ai voice to text https://whisperai.com/Jonah's Endorsement: "Broadcast News" https://www.imdb.com/title/tt0092699/ . And do a silent take when on set. Hosted on Acast. See acast.com/privacy for more information.

"Put Your Soul On Your Hand And Walk" is a documentary film directed by Sepideh Farsi, depicting life in Gaza during the ongoing Israeli military campaign, captured through Farsi's video calls with a young Palestinian photojournalist living there named Fatima Hassouna. The documentary had its world premiere at the ACID parallel section of the 2025 Cannes Film Festival. A day after the filmmakers found out the film had been selected for the festival, Hassouna was killed in an Israeli airstrike alongside nine members of her family on April 16th. The film is dedicated to her memory and has garnered positive reviews, including Gotham and Cinema Eye Honors nominations for Best Documentary Feature. Farsi was kind enough to spend some time speaking with us about her work and experience making the film, which you can listen to below. Please be sure to check out the film, which is now playing in limited release from Kino Lorber. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

"Cutting Through Rocks" is a documentary film directed by Mohammadreza Eyni and Sara Khaki in their feature debut. It follows the story of the first Iranian woman elected as a councilwoman in a rural, poor village. The film had its world premiere in the World Documentary Competition section of the 2025 Sundance Film Festival, where it received positive reviews and won the Grand Jury Prize – World Documentary Competition. Mohammadreza Eyni and Sara Khaki were kind enough to spend some time speaking with us about their work and experience making the film, which you can listen to below. Please be sure to check out the film, which will be released in New York at Film Forum on November 21st. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Based on the true story of a 20-something writer from rural Maine. Inspired by actress SALLY KIRKLAND's performance in the sleeper hit, ANNA (Oscar nominee, Independent Spirit Award and 1988 Golden Globe winner), Zack takes the leap to pursue his ambitions of a Hollywood Career. After driving cross country, in a chance encounter he meets his lifelong idol, the week he arrived. Sally hires him on the spot to be her assistant, where he quickly learns her career is a shambles. He dedicates himself to finding a way to land her back on the red carpet where she belongs.   SALLYWOOD stars Sally Kirkland, Tyler Steelman, Tom Connolly, Eric Roberts, Lenny Von Dohlen, Kay Lenz, Michael Lerner, Maria Conchita Alonso, with Keith Carradine and Jennifer Tilly. It was written and directed by Xaque Gruber and produced by Steven J. Wolfe. The film features songs by Rufus Wainwright, Toni Basil & Smokey Miles. The film has a running time of 90 minutes and will not be rated by the MPAA. It has won over 50 Awards during its festival circuit!   Buffalo 8 released the film on digital platforms on November 14, 2025.  To view the trailer, go to: https://youtu.be/BAhC50Jgd5k For more information, go to: www.sallywoodmovie.com https://www.xaquegruber.com/  SOCIAL MEDIA HANDLES: Facebook: sallywood the movie https://www.facebook.com/profile.php?id=61561341323412 Instagram: @sallywoodmovie https://www.instagram.com/sallywoodmovie/ X: @sallywoodmovie https://x.com/SallywoodMovie Stay Connected with me: https://www.instagram.com/shesallovertheplacepodcast https://www.chonacas.com/links/  

US and Russian officials have drafted new proposals to end the Ukraine war but they would appear to require major concessions from President Zelenskyy over territory and weapons. Will they be acceptable to the Ukrainian President, and what about his forces fighting on the frontline? On this episode of the Fourcast, Matt Frei speaks to the award-winning filmmaker Mstyslav Chernov who has a new film just out that follows a brigade of soldiers as they attempt to liberate the village of Andriivka in the east of the country, the sort of place that would be included in the new Russian-controlled territory. 

My returning guest is an award-winning filmmaker and caregiver advocate. We continue discussing the nursing home controversy, her documentary No Country for Old People, the important issues involving elder care in America, and much more.    

Welcome to the DMF.I'm Justin Younts, and in this episode, Sara Alessandrini takes us inside the reckless, bold decisions that pushed her to create her documentary.For Sara, the journey began in 2020, at the height of her growing frustration with the film industry — particularly the way safety protocols were handled as theaters attempted to reopen during the pandemic. Watching parts of the industry prioritize visibility and fame over the safety of audiences deeply disturbed her, and it became the spark that ignited a much larger mission.Sara explains how this moment opened her eyes to the broader issues simmering beneath the surface: the accusations leveled at public figures without due process, the willingness of society to latch onto narratives without questioning them, and the way difficult conversations were being silenced. Determined to understand the truth, she connected with a community of supporters who shared her concerns, and together they set out to document what others refused to talk about.Her film became more than a project — it became an investigation into transparency, accountability, and the cultural forces that shape public perception.In this episode, Sara reflects on the challenges she faced, the unexpected resistance she encountered, and the insights she gained along the way. Join us as she unpacks the complexities of filmmaking, the societal issues intertwined with it, and what she discovered while daring to question the stories we're told.00:00:00 - Introduction00:00:08 - Decision to Make a Documentary00:00:23 - Moving to New York and Starting a Business00:01:20 - Frustration with the Movie Industry00:02:16 - Importance of Safety and Business Ethics00:06:12 - Experience with Workplace Complaints00:07:50 - The Danger of 'I'm Offended'00:09:35 - The Importance of Due Process00:14:04 - Making the Documentary00:15:16 - Exploring the Concept of Love and Hate in Society00:16:17 - Finding a Community of Cuomo Supporters00:16:54 - Social Media Usage and Its Impact00:18:18 - The Decision to Make a Documentary00:20:37 - The Influence of Social Movements and Political Narratives00:22:23 - The Role and Influence of Social Media Platforms00:26:23 - The Importance of Education in Democracy00:26:48 - The Shift from Policy to Personality in PoliticsCheck out Sara's website, where you can learn more about the documentary miniseries and find links to watch it! https://www.thisiswhatnewyorkerssay.com https://www.instagram.com/lasava.alessandrini/

In this exclusive interview, we sit down with Cameron Smith, a groundbreaking hybrid artist, comedian, and filmmaker who has redefined vulnerability by directing a documentary about his own life.This conversation is an essential deep dive into the discipline, self-awareness, and creative risk required when you choose to direct your own story and maintain your integrity in the face of modern challenges.In this episode, you will learn the unvarnished truths about sustaining a creative career in the attention economy:Creator Values vs. Attention Span: We discuss the challenge of maintaining genuine artistic integrity and vulnerability when the average person's capacity and attention span are constantly decreasing.Marketing the Universal Message: We analyze how profound, universal truths must be framed effectively to achieve resonance and reach the masses. We delve into effective strategies, even using a fascinating analogy of Jesus as the ultimate marketing master for delivering value.The Power of Self-Awareness: Cameron discusses how the intense self-scrutiny required for filmmaking led to crucial breakthroughs in his understanding of personal and creative values.The Filmmaker's Discipline: The uncomfortable demands of being both the director and the subject, and the dedication required to craft your personal life into a successful professional narrative.This episode is a must-watch for creators who believe, like the MadPo3t, that mastery begins with confronting uncomfortable truths and that effective marketing is essential for delivering profound value.

SHOW NOTES COMING SOON!!!Chozy Aiyub - Palestinian actor, filmmaker, podcaster, and digital designer.

Two cousins. Countless miles. One bold mission: bring whiskey to a new generation - and a new audience.In this episode of The Whiskey Hue, we sit down with AnnaAxster and Wendelin von Schroder, founders of Lodestar Whiskey, who went from filmmakers turned accidental music execs - running their own label and touring America - to building a whiskey brand that's rewriting the rules.They share how green-room pours with country starsturned into a full-blown love affair with the craft: from the viscosity and sweetness of their high-rye bourbon and single-malt blend, to why color, flavor, and texture aren't accidents.We dive deep into what it takes to source barrels, launch in Southern California, and build community before chasing sales.And we talk representation - why it's time whiskey spoke to women who've been left out of the conversation for far too long. It's smooth. It's fiery. It's full of heart - just like the whiskey itself.Pour a glass, hit play, and discover how these two arelighting a new path in the world of spirits.EPISODE TIMESTAMPS00:00 Intros04:30 Lodestar Quick Intro06:12 But First! Their Music Industry Escapades13:30 Where the Whiskey Love began – First sips with Dads,    to Green Rooms of Country Stars17:50 Blended Whiskeys: consistency 20:53 Bringing Women into the World of Whiskey24:22 Flavor, Color, Texture, Not by Accident. 27:22 What makes a Bourbon a Bourbon?30:00 Sourcing the Barrels33:00 Critical Mass for Sales37:00 Launch a Whiskey, Build a Community First 42:50 Representation Matters To Women Consumers53:00 Burn some Oak, taste some Vanilla57:00 Flaviar: Whiskey Club1:02:00 Anna and Wendelin celebrate their industry peersThis episode is part of the ‘Prof P' series on the Whiskey Hue Stream. Recorded in part for my Fordham Gabelli students.Please Rate, Review, Subscribe and Share with a Friend! Means a lot to us - thank YOU!For more info on:1. Venture, Tech, Sports and Investing, visit: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AtulPrashar | LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠2. Learn Venture Capital Investing for less than a dinner in NYC: “VC: IdeationThrough Execution”: ⁠⁠⁠⁠https://tinyurl.com/APsVCCourse⁠⁠

Juan Saliba joins the podcast before he shoots his debut short film, The Midnight Screening. He talks about his life, filmmaking journey and the process leading up to his short. As of this release, principal photography has wrapped. Look for it at film festivals in 2026/2027! Follow instagram.com/thchosenjuan instagram.com/themidnightscreeningshortfilm Upcoming Shows 11.19.25 | Pearl River, NY | Jordan Fried at Uncle Tommy's Tavern | 7 PM | Free 12.5.25 | Carlstadt, NJ | Junk Mail Improv Holiday Spectacular at Bolero Snort | 8 PM 12.7.25 | New York, NY | Jordan Fried at The Comedy Shop | 2 PM 12.20.25 | Bergenfield, NJ | Jordan Fried at Tommy Fox's Sessions With Mary Jane is a Cannabis infused podcast hosted by stoner comedian and filmmaker, Jordan Fried.  It features interviews from musicians, filmmakers, comedians, politicians, writers and business owners along with solo concept episodes.  While all guests do not necessarily partake, the one requirement is that they are pretty chill, man.  Listen for untold stories, how to guides, deeper dives and expanded curiosities. Your source for all things New Jersey, Hudson Valley and NYC.  New Episodes every Wednesday with exclusive bonus content. An LNH Studios podcast on the Gotham Network. Produced by the Gotham Network. LNH Studios is a comedy and video production company based out of Rutherford, New Jersey. It is comprised of the comedy trio Late Night Hump, consisting of Reena Ezra, Jordan Fried, and Brendan O'Brien.LNH Studios focuses on producing: • Podcasts • Films • Comedy shows and series (including sketch comedy, improv, stand-up, musical improv, and variety shows) They also offer classes and workshops related to comedy and production, and their services extend to recording audio and video, and scriptwriting.  You can find more information and contact them through their website, lnhstudios.com, or by phone at +1 845-545-0284.⁠ Jordan Fried⁠ (⁠https://jordanfried.myportfolio.com/⁠) is a SAG AFTRA comedian and filmmaker from Warwick, NY currently based in Rutherford, NJ. His debut comedy special and album, When The Edible Hits, is out on YouTube, Spotify, Apple Music, X, Facebook and Vinyl.  He is the co-director, co-writer and star of Beware The Horn, a film about a film school graduate that stumbles upon an improv troupe that he thinks is a cult.  He also appeared as the Young Peter Madoff in Madoff : Monster of Wall Street. He studied Digital Media Production and English at Tulane University, where he was a member of Cat Mafia Comedy. He's performed at Rhino Comedy, Eastville Comedy Club, Hell Yes Fest, Binghamton Comedy and Arts Festival, New Orleans Comedy and Arts Festival and Northern Virginia Comedy Festival. He produced the comedy variety show, Circuit Break; Late Night Hump at NJ Weedman's Joint; and he is a founding member of the improv troupes, Duly Noted and The Mutts.  He taught media, podcasting and comedy classes for Montclair Film, Blue Sky Kids and Educate The Block.  He recently worked as the operations manager at The Williams Center in Rutherford, NJ.

11/19/25: Young@Heart Chorus' Bob Cilman, Orlando Isaza & Caroline McDonald: “Ten-Alarm Fire: We Will Not Shut Up!” Ellsberg Initiative's Chris Appy and Farai Chidea: “How to Read America.” Community Action's Energy Program Dir Peter Wingate: staying warm. “Between The Mountain and the Sky” with filmmakers Larry Hott & Jeremy Power Regimbal and the protagonist, Nepal-based Maggie Doyne.

"Rental Family" is a comedy-drama film directed by Hikari, who co-wrote the script with Stephen Blahut, starring Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, and Akira Emoto. The film premiered at the 2025 Toronto International Film Festival, where it received positive reviews for its direction, writing, and heartwarming performances. Hikari and Emoto were both kind enough to spend a few minutes speaking with Ema Sasic and Giovanni Lago, respectively, about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, which is scheduled to be released in the United States by Searchlight Pictures on November 21st. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textLadies and gentlemen, please make sure your seatbelt is fastened and that your seat and tray tables are in the upright position!This week on The Fixate & Binge Podcast, I'm joined by directors Eli Kooris and Joshua Shaffer, the creative force behind AMERICAN SKYJACKER, a wild and gripping docudrama chronicling Martin McNally's audacious 1972 skyjacking and the five-day national chase that followed. We dive into the film's tense reenactments, its interview access to McNally himself, and the jaw-dropping second act set inside Leavenworth Penitentiary.Eli and Joshua reveal how this story evolved from their award-winning podcast into a long-developed passion project heading to theaters later this year.Before we jump in, I also share my quick reaction to Guillermo Del Toro's FRANKENSTEIN (2025) on Netflix. Thank you for listening! You can find and follow us with the links below!Read our Letterboxd reviews at:https://letterboxd.com/fixateandbinge/Follow us on Instagram at:https://www.instagram.com/fixateandbingepodcast/?hl=msFollow us on TikTok at:https://www.tiktok.com/@fixateandbingepodcast

On this special interview episode, Erin speaks with filmmaker Tamar Springer about her award-winning documentary short “More Than Santa Baby." The film is about the life, career, and music of her father, "Santa Baby" composer Philip Springer. It is an inspiring story of perseverance, resilience, and hope, and takes the audience through his 80+ years in music history, adorned with legendary artists and locations along the way. For more information about "More Than Santa Baby," check out the website: https://www.morethansantababyfilm.com/ Consider supporting us on Patreon: ⁠https://www.patreon.com/itsafandomthingpod⁠. For links to our social media, visit our website: ⁠https://itsafandomthingpod.com/⁠ Discord: ⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/7aTTCAWZRx⁠⁠⁠⁠⁠⁠⁠⁠ You can follow Fergie on TikTok: ⁠https://www.tiktok.com/@schroederandfergs⁠ Cover art by Carla Temis. Podcast logo by Erin Amos. Learn more about your ad choices. Visit megaphone.fm/adchoices

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Send us a textIn today's episode, I interview Phil Mazo, director of the short film "Replay," a short docucomedy that explores a memory from his own past.Listen to hear about the challenges of making a documentary film about yourself, how Phil went about reaching out to the original interviewer to involve him in the project, and how certain memories can become lasting images in your mind even decades later.Books mentioned in this episode include:The Short and Tragic Life of Robert Peace: A Brilliant Young Man Who Left Newark for the Ivy League by Jeff HobbsHustle Harder, Hustle Smarter by Curtis "50 Cent" JacksonBe Useful: Seven Tools for Life by Arnold SchwarzeneggerAtomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones by James ClearFilms and TV shows mentioned in this episode include:"Replay" directed by Phil MazoGoodfellas directed by Martin ScorseseSchindler's List directed by Steven SpielbergFargo directed by Joel and Ethan CoenBack to the Future directed by Robert ZemeckisRob Peace directed by Chiwetel Ejiofor"Medusa" directed by Courtney Podraza"What the Heck Is Going On." directed by Greg RubnerMouse directed by Kenny RichesFollow the Phil on Instagram @philmazo.Support the show

Welcome to Season 5, Episode 46! Many of our guests are multi-hyphenates when it comes to their impact in the world, and today's guest can definitely be described that way. Satsuki Ina is a Trauma Therapist, Activist, Filmmaker, Educator, and the Author of the Memoir The Poet and the Silk Girl which was released on September 9, 2025.  Satsuki is a survivor of the Japanese incarceration during World War II. She was born in the camps and spent her first few years there, both experiencing the trauma in her early years as well as through her parents. In her memoir, The Poet and the Silk Girl, Satsuki tells the story of how her parents, brother, and she survived and resisted their incarceration in U.S. concentration camps. One of the things that makes this memoir even more personal is that she was able to draw from diary entries, emotional haiku, censored letters, government documents, and clandestine messages that her parents Shizuko and Itaru Ina shared with each other. Satsuki further adds to the relevance and personalization by connecting her family's experience to the race and immigration stories unfolding today as well—from rising anti-Asian hate crimes to the militarization of immigration enforcement. At 81, Satsuki continues to be at the forefront of Asian American activism. She's a co-founder of Tsuru for Solidarity, a nonviolent, direct-action project of Japanese American social justice advocates. To learn more about Satsuki Ina, you can visit her website, follow her Instagram @satsukiina, support Tsuru for Solidarity, watch her recent addresses at the 56th Annual Manzanar Pilgrimage and the Snow Country Prison Japanese American Memorial, and you can of course get your own copy of The Poet and the Silk Girl.  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Somewhere, somehow, somebody must have kicked this podcast around some! This episode we're talking about Tom Petty: Heartbreakers Beach Party, the 1983 directorial debut for Cameron Crowe, and lovely artifact of Tom Petty and the Heartbreakers from the earliest moments of MTV. Join us as we relish in Petty's charming humanity, Crowe's youthful filmmaker vibe, and the somewhat magical inflection point for two influential creative treasures. Plus, MouthGarf and I See What You Did There!Sources:https://variety.com/2025/music/news/tom-petty-heartbreakers-beach-party-paramount-streaming-debut-cameron-crowe-1236303687/Watch the film: https://www.paramountplus.com/movies/video/YP4um6Ey_qFQq9mLqUrEFLVH5SjNQHXo/Please give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to the archives of Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor and the Cold Family and check out his new compilation The Best of the Bad Years 2005 - 2025Next time: First Gmail

Brad Mendenhall (Cosmic Geppetto Podcast) joins us to mention actor & comedy TV writer turned filmmaker Mel Brooks in this tribute.   We also mention some less talked about trivia, his accolades for perfecting all kinds of humor & the historical landmarks comedy clubs that Mel and his writing buddies frequented!    

Filmmakers Marisa Guterman-Keith Gerchak of new movie Lost and Found In Cleveland spoke to Bill about the Movie - Cleveland History - Scenes in Cleveland - Great Actors - Getting the film made - Clevelanders-people will add to Christmas movie list

In this inspiring episode, Ambassador Elisha sits down with Chris Walters, acclaimed filmmaker, producer, writer, actor, and Vice Chairman of the Maine State Film Commission.

Originally Recorded October 16th, 2025Check out Richard's documentary, I Know Catherine, the Log Lady: https://iknowcatherine.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit musicallyspeaking.substack.com

Award winning Filmmaker, Writer and Producer Tamar Phillips calls into the podcast to talk about her new film "More than Santa Baby".

Filmmaker and N8RLND founder Pieter van den Braak joins the Internet of Nature Podcast for a walk through Eindhoven's Philips de Jonghpark—a city park dense enough to feel like a pocket forest. Pieter shares how, during a period of feeling unmoored in his early twenties, nature became the one place that offered clarity, calm, and a sense of belonging he couldn't find anywhere else.We talk about the quiet drift into burnout, why awe can reset an overwhelmed mind, and how “microdosing nature” for five minutes a day can shift the tone of an entire morning. Pieter explains how this personal turning point led him to build N8RLND, a media platform designed to counter doomscroll culture with films and stories that reconnect people to the living world.Along the way, we explore why solitude in nature feels different from loneliness, how simple outdoor rituals can anchor mental health, and why, as Pieter puts it, “you don't need to know anything about nature to feel part of it.”

Welcome to the DMF.I'm Justin Younts, and in this episode I sit down with Sara Alessandrini, who dives deep into the hierarchy of film production and the often misunderstood roles of directors and producers.Sara has met her fair share of people who love calling themselves “director” but shy away from the responsibilities that come with it — and she's not afraid to talk about it. With experience in both Italy and the United States, she's seen firsthand how dramatically different directors can be, and how those differences shape a set.She explains that a true director isn't defined by a title but by vision — the clarity to know what they want and the communication skills to guide an entire team toward that goal. Sara opens up about her film school journey, the early mistakes she made, and how learning every role on set fundamentally changed her approach to directing.Her insights offer a grounded, realistic look at what it actually takes to lead a production. Whether you're an aspiring filmmaker or simply curious about how movies get made, Sara breaks down the challenges, misconceptions, and triumphs of directing with honesty and experience.Join us as she pulls back the curtain on the real work happening behind the scenes — and why knowing your craft inside and out is absolutely essential.Don't forget to like, share, and subscribe for more industry insight and filmmaking wisdom.00:00:00 - Introduction00:00:07 - The Role of a Director00:01:23 - The Importance of Understanding Different Roles in Filmmaking00:03:32 - Learning from Mistakes and Gaining Experience00:04:34 - The Decision to Learn All Aspects of Filmmaking00:05:25 - Experiences Working in the Egyptian Theater00:06:42 - The Love for Music Videos00:08:34 - The Birth of 'This is What New Yorkers Say'00:10:30 - Frustrations with the Movie Industry00:15:30 - Leaving the Egyptian Theater and Working with Netflix00:16:10 - The Challenges of Building Safety Standards in California00:17:37 - Frustration with the Response to COVID00:18:11 - Political Interests and Experiences in Rome00:19:18 - Encounter with Dario Argento00:20:35 - Involvement in the Screening of Suspiria00:23:44 - Keeping Updated with Press Conferences During COVID00:24:38 - Discovering and Admiring Cuomo00:26:37 - Desire to Improve Society00:28:21 - ConclusionCheck out Sara's website, where you can learn more about the documentary miniseries and find links to watch it! https://www.thisiswhatnewyorkerssay.com https://www.instagram.com/lasava.alessandrini/

Award-winning animator and filmmaker Frank E. Abney III joined me for #CarolynTalks to discuss BLACK MAN, BLACK MAN, his latest animated short film. We discussed how the black & white film is a step forward in his creative process as a director and writer, working with actors Yvette Nicole Brown and Aldis Hodge, who also co-produces the film, and how the animation film industry has changed over the years.#Animation #AnimatedFilm #ShortFilm #Interview #IndependentArtistVisit Frank's Instagram account and official website to check out what projects he's worked on and upcoming film festivals BLACK MAN, BLACK MAN will be screening at.Find me on Twitter and Instagram at: @CarrieCnh12paypal.com/paypalme/carolynhinds0525My Social Media hashtags are: #CarolynTalks #DramasWithCarrie #SaturdayNightSciFi #SHWH #KCrushVisit Authory.com/CarolynHinds to find links to all of my published film festival coverage, writing, YouTube and other podcasts So Here's What Happened!, and Beyond The Romance. Hosted on Acast. See acast.com/privacy for more information.

"Rebuilding" is an American independent drama film written and directed by Max Walker-Silverman, starring Josh O'Connor, Lily LaTorre, Meghann Fahy, Kali Reis, and Amy Madigan. The film follows a cowboy named Dusty (O'Connor), who ends up in a FEMA camp after a wildfire destroys his ranch, and he finds community with others who have lost their homes, including his daughter and ex-wife. The film had its world premiere at the 2025 Sundance Film Festival, where it received positive reviews for Max Walker-Silverman's storytelling and filmmaking, as well as O'Connor's nuanced lead performance. O'Connor and Walter-Silverman were both kind enough to spend a few minutes speaking with us about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, which is now playing in theaters from Bleecker Street. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

"Arco" is a French animated science fantasy film written and directed by Ugo Bienvenu and produced by Natalie Portman. It stars Swann Arlaud, Alma Jodorowsky, Margot Ringard Oldra, Oscar Tresanini, Vincent Macaigne, Louis Garrel, William Lebghil, and Oxmo Puccino in the French version, with Will Ferrell, America Ferrera, Flea, Natalie Portman, Mark Ruffalo, and Andy Samberg in the English dubbed version. The film had its world premiere in the Special Screenings section of the 78th Cannes Film Festival earlier this year, where it received positive reviews. It would later go on to win the Cristal Award for Best Feature Film at the Annecy International Animation Film Festival. Bienvenu and Portman were kind enough to spend some time speaking with us about their work and experience making the film, which you can listen to below. Please be sure to check out the film, which is now playing in limited release before expanding wide in early 2026 from NEON. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Change - Kramon - Music Video. The unconscious self and conscious self meet. http://meredithadelaide.com/ http://instagram.com/meredithadelaide Interview with star/director Meredith Adelaide on the making of the video. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

On this week's episode of ITCAF, the guys break down a whirlwind week in Hollywood that proves the industry is anything but steady. Disney just unleashed huge streaming numbers, reminding everyone they're still the last true entertainment powerhouse in a landscape full of mergers and identity crises. Glen Powell is leveling up in a big way as The Running Man gains serious momentum, and the SAG Awards are rolling out a major rebrand, shaking up an awards season already struggling to find its footing. Dustin and Logan dig into what all these shifts mean for creators, studios, and the rapidly changing future of content. In this week's Top 5, the guys count down their Favorite Feel-Good Films, celebrating the comfort watches, uplifting classics, and cinematic serotonin boosts we all need right now. Plus, your Box Office Recap, and the IMDb Top Trenders! It's an unfiltered, insider look at the industry's biggest stories!Follow Us Here:Website: https://crazyantmedia.comMerchandise: https://crazyantmedia.com/crazy-ant-merchandiseOur first film, Deadlines: https://crazyantmedia.com/deadlinesPodcasts:ITCAFpodcast:Apple Podcast: https://podcasts.apple.com/us/podcast/itcafpodcast/id1644145531Spotify: https://open.spotify.com/show/1tf6L0e7vO9xnVtWaip67s?si=tYPrIVr_R36qpYns4qeZ8gEverything's Okay Podcast:Apple Podcast: https://podcasts.apple.com/us/podcast/everythings-okay/id1664547993Spotify: https://open.spotify.com/show/0uMm80MW4K50f8uURgVUYp?si=9mF7mwf_Qe-ZDqKBhEovMgSocial Media:ITCAFpodcastTwitter: https://twitter.com/itcafpodcast?s=21&t=q0HdFq3CPkXBzVYHYdJW6wInstagram: https://instagram.com/itcafpodcast?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/t/ZTRLQ7hHn/Everything's OkayTwitter: https://twitter.com/everythingsokp?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/everythingsokp?igshid=YmMyMTA2M2Y=Crazy Ant MediaTwitter: https://twitter.com/crazyantmedia?s=21&t=q0HdFq3CPkXBzVYHYdJW6wInstagram: https://instagram.com/crazyantmedia?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/t/ZTRLQP1c1/Logan (Left)Twitter: https://twitter.com/jloganaustin?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/jloganaustin?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/@j.loganaustin?_t=8ZMB9Hp1yxf&_r=1Dustin (Right)Twitter: https://twitter.com/crazyantceo?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/crazyantceo?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/@crazyantceo?_t=8ZMB84k7BUM&_r=1

Lonnie van Brummelen is filmmaker. Ze werkt sinds 2002 samen met Siebren de Haan aan filmprojecten. Zo maakten ze films als ‘Episode of the sea' en ‘Stenen hebben wetten', over de Surinaamse Marrons. Hun filmprojecten vestigen de aandacht op het ethische ongemak dat hoort bij het hedendaagse geëngageerde kunstenaarschap. Kunstenaars proberen met goede bedoelingen het leven van onderdrukte gemeenschappen in beeld brengen. Maar wiens belang wordt het meest gediend? Op IDFA draait haar nieuwe film ‘Monikondee', die ze samen met Tolin Erwin Alexander en Siebren de Haan maakte. In deze documentaire volgen zijbootsman Boogie. Hij vervoert essentiële vracht naar inheemse- en Marrongemeenschappen langs de grensrivier tussen Suriname en Frans-Guyana.

Host Jeff Goldsmith talks to co-writer/director Dan Trachtenberg about his new film, Predator: Badlands. Download my podcast here Copyright © Unlikely Films, Inc. 2025. All rights reserved. For more great content check out Backstory Magazine @ Backstory.net

On the 490th episode of Piecing It Together, we conclude our FilmQuest Film Festival 2025 coverage as Emily Zercher and Shane Brady join me to talk about Hacked: A Double Entendre of Rage Fueled Karma. This follow-up to our previous episode lets the filmmakers react to our puzzle pieces and share some of their actual influences as well as stories from the making of the film.As always, SPOILER ALERT for Hacked: A Double Entrende of Rage Fueled Karma and all of the movies we discuss!Check out FilmQuest at https://www.filmquestfest.comAnd also check out FilmQuest on Instagram @filmquestHacked: A Double Entendre Of Rage Fueled KarmaWritten by Shane BradyDirected by Shane BradyStarring Chandler Riggs, Richard Riehle Katelyn NaconEmily Zercher and Shane Brady are a married couple who actually were scammed out of their life savings and made this movie about it. Check out Shane's website at http://www.shanebradyactor.com/Follow Emily on Instagram @zerchinator Follow Shane on Instagram @shanebradyactorMy latest David Rosen album MISSING PIECES: 2018-2024 is a compilation album that fills in the gaps in unreleased music made during the sessions for 2018's A Different Kind Of Dream, 2020's David Rosen, 2022's MORE CONTENT and 2025's upcoming And Other Unexplained Phenomena. Find it on Bandcamp, Apple Music, Spotify and everywhere else you can find music.You can also find more about all of my music on my website https://www.bydavidrosen.comMy latest music video is “Shaking" which you can watch at https://www.youtube.com/watch?v=wzm8s4nuqlAThe song at the end of the episode is "The Smelly Song." This was a track I was hired to make over a decade ago and I'll likely never have another reason to play it on an episode of Piecing It Together, so here it is.Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenYou can also support the show by checking out our Dashery store to buy shirts and more featuring Piecing It Together logos, movie designs, and...

Bonnie McFarlane! Comedian! Writer! Filmmaker! Friend! Delight! More! Bonnie is a super funny comedian who you can follow on Instagram here! We have a fun chat and you can have a fun listen! And this is only one HALF of our talk! For the other half, subscribe via Apple Podcasts OR merely click on over here to Patreon!

Black People Don't Tango, 13min., USA Directed by Robert Xavier Clark An African American man learns to tango after a trip to Argentina. Based on a true story. What motivated you to make this film? This short film Black People Don't Tango is adapted from a feature-length film script that I developed in 2019. That feature script is further adapted from a short story that I wrote in college. The primary motivation for the short film is to function as a proof of concept for the larger Black People Don't Tango idea. From the idea to the finished product, how long did it take for you to make this film? Roughly one month. What was the biggest obstacle you faced in completing this film? Scheduling and securing locations. The short film was put together and shot in a very tight timeframe. Also most of the people in the film are not professional actors, so getting everyone on the call sheet to show up on specific days was challenging. We also had some late talent and location changes happen, so we had to stay flexible and adapt. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

This week, I'm honored to welcome Elsa Sevilla — Emmy-nominated TV host, filmmaker, and cultural storyteller. From her humble beginnings to becoming a voice for hidden history and heritage, Elsa's journey is all about turning hardship into purpose and shining a light on our community's brilliance. ... ....................... Get your CELAVIVE mask here!! https://bit.ly/martisfavmask Grab your free resources here: https://stan.store/MartiAngel My FAV Affiliate links: Health & Wellness : https://bit.ly/joinmarti Affirmations Audio: https://martiangel.gumroad.com/ Check out some of my favorite journals and books here! https://amzn.to/3siywJ4 Get your Freebie -digital downloads here: stan.store/martiangel   TAKE THE FREE QUIZ “ WHAT IS YOUR ENTREPRENEURIAL ARCHETYPE” https://bit.ly/Mbizquiz CHECK OUT ALL THE SOCIAL MEDIA AND BUSINESS TOOLS I RECOMMEND https://amzn.to/3WDVMBm GET ALL OF MY EQUIPMENT HERE: http://bit.ly/MARTIANGELTOOLS%E2%80%8B Disclaimer Marti Angel is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to http://www.amazon.com .  

"Sirāt" is a drama film directed by Óliver Laxe, co-written by Santiago Fillol and Laxe. It follows Luis (Sergi López), a father in search of his missing daughter in the deserts of southern Morocco. The film had its world premiere in the main competition of the 78th Cannes Film Festival, where it won the Jury Prize. It's since been selected as the Spanish submission for the Best International Feature Film at the 98th Academy Awards. It has also been nominated for a Gotham Award for Best Director and a British Independent Film Award for Best International Independent Film. Laxe was kind enough to spend some time speaking with us about his work and experience making the film, which you can listen to below. Please be sure to check out the film, which is set for a limited one-week qualifying release on November 14th, before it expands wide in January 2026 from NEON. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we're bringing you a special live episode recorded at the Compass Gallery in Provo with filmmaker Matt Whitaker.Matt is the director and one of the writers and producers of the new film Truth & Treason, which tells the astonishing true story of Helmuth Hübener—a 16-year-old Latter-day Saint in Nazi Germany. After secretly tuning into forbidden BBC broadcasts on his brother's radio, Helmuth encountered a world of information that challenged everything he'd been told. He then set off on a course of bold and dangerous resistance, writing and distributing anti-Nazi leaflets across his city with two friends—risking everything to speak the truth. It's a story of conviction, moral courage, and the high cost of standing up. Matt spent over 20 years bringing this story to the screen, and in this conversation he shares the incredible behind-the-scenes journey, including his experience tracking down the last surviving member of Helmuth's resistance group, and other miracles that made the film possible. He explores the moral weight of the story, the complexity of faith during dark times, and why he believes this film matters right now more than ever.Truth & Treason is currently in theaters, and there's still time to see it. It's a timely and compelling film—and supporting this remarkable project and the filmmakers behind it will help ensure that more stories like this can be told.Become a paid subscriber to Wayfare Magazine before December 1 to receive Issue 6, the prophecy issue, in the mail! This is a beautifully bound print magazine with full color art and work by writers like Adam Miller, Hannah Packard Crowther, James Goldberg, Camilla Stark, Matt Bowman, Jenny Richards, Terryl Givens, and more. Visit wayfaremagazine.org/subscribe to learn more.

Host Jeff Goldsmith talks to co-writer/director Edgar Wright and co-writer Michael Bacall about their new film, The Running Man. Download my podcast here Copyright © Unlikely Films, Inc. 2025. All rights reserved. For more great content check out Backstory Magazine @ Backstory.net