Indie Film Hustle® - A Filmmaking Podcast (Indie Film Hustle)

Film Festivals: Are They Relevant Anymore?


Film Festival Hacks is the podcast that explores the festival circuit “from both sides of the badge.” Alex Ferrari is an award-winning filmmaker with nearly 600 international film festivals under his belt. He’s joined by Chris Holland, author of Film Festival Secrets: A Handbook for Independent Filmmakers who has worked closely with more than 200 film festivals including Sundance, AFI Fest, and SXSW. Together we explore the hidden world of film festival programming and pass along tips that give you that critical edge in the festival submissions game.
In episode seven discuss the relevance of film festivals in today's digital world. Enjoy!

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This week we are joined by Oscar nominee & legendary actor Robert Forster. He dishes out amazing advice to actors, directors and human beings a like. He even tell us his favorite Quentin Tarantino direction he got on the set of Jackie Brown.

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This week we discuss my misadventures in Hollywood with my film BROKEN. I talk about how to be ready if and when the spotlight of Hollywood is on you and your project. What to do in those meetings and how NOT to waste the opportunity. 

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This week we ask, are you a  Indie Film Marketing Spammer? Do you ask people you just met on-line to support your film or kickstarter campaign without taking the time to build a relationship? Do you blast your latest reel or trailer on every you can post it? Then you might be a filmmaking spammer. We are here to help you get what you want without pissing everyone off in the process. 

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On this week's episode we discuss a dirty indie film distribution secret, Producer's Reps. Like all things in life not all producer's reps are evil, scam artists or scumbags. Many do a great job and are more than fair with the filmmakers they work for.


I'm hear to warn you about the other kind of producer's rep, the predatory, conman that loves to promise the world and deliver nothing to the already broke filmmaker. I was burned by one of these grifters early in my journey as a indie filmmaker and producer.




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So you want to move to Los Angeles and make it big in Hollywood. The question is should you? Do you need to? When should you if you do? What kind of plan should I have in place? What should I do if I live in another country? All will be answered in this episode.

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In this episode we tackle visual effects in indie film. Visual Effects in Indie Film is really hit or miss, mostly miss. Many indie filmmakers don't any idea what to do when it comes to visual effects.
Uber visual effects artist Dan Cregan takes you through a master class on indie film visual effects and tells us how he went from indie visual effects to huge studio films like Guaridans of the Galaxy and The Hobbit.

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I'm so excited to have on the show this week Dov Simens, founder of Hollywood Film Institute. He created the remarkable 2 Day Film School and has launched the careers of Quentin Tarantino, Chris Nolan, Spike Lee, Kevin Smith, Queen Latifah, Guy Ritchie & more.
Dov's teaching style is entertaining, in your face and straight from the street. Real world, practical film education. Sit back and prepared to be schooled in the ways of Jedi Film Teacher Dov Simens.

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This week we were lucky enough to have as out guest screenwriting guru Karl Iglesias. He has written award winning books including: The 101 Habits of Highly Successful Screenwriters, Writing for Emotional Impact, and Cut to the Chase.
I discovered Karl Iglesias' work reading Writing for Emotional Impact. It really transformed the way I wrote screenplays and created a bunch of new habits that I still use today.
It was a major treat to interview Karl on the show. His work is so specific but yet broad. His one rule that can never be broken,
"Always be interesting."
I think most films coming out of Hollywood today should take that advice. Keep your audience engaged and emotionally invested. So many filmmakers and screenwriters today don't understand that basic concept.
I really asked Karl the tough questions so we could fill this episode with amazing content for you. This is one podcast your won't want to miss. Enjoy!
Right click here to download the MP3
LINKS AND RESOURCES MENTIONED IN THIS EPISODE:

Pixar's Emotional Core: The Essential Element in all Successful Stories
Writing for Emotional Impact
Cut to the Chase
The 101 Habits of Highly Successful Screenwriters
Karl Iglesias' Official Site
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!

Action Items:
Subscribe to the Podcast on iTunes,  Stitcher or via RSS.

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Suki Medencevic ASC and the Art of Cinematography
I have found over the years that is one of the biggest technical issues in independent film. Someone borrows a friends RED Camera or Arri Alexa and thinks that's all you need. Cinematography is not only a mystical art but imperitive in today's gluttony of indie films in the market place.
Good cinematography can really make your independent film project rise out of the gutter of poorly produced indie films. Today on the show I interview Suki Medencevic ASC (American Society of Cinematographers).

For all the show notes goto: http://www.indiefilmhustle.com/009

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This week on the show I'm excited to have uber independent film producer Suzanne Lyons. She has been living in the indie film space for over twenty years. Working on SAG Ultra Low Budgets to over $15,000,000 budgets she has seen it all.Suzanne Lyons takes you by the hand and walks you through what it takes to produce your first feature film. She goes over the pitfalls, legal concerns, deliverables, selling to foreign countries and most importantly of all how she gets her financing for her feature films.
She laid out such amazing information that I had to break the episode up into two parts. I spoke at one of her famous indie film producing workshop and learned a ton while I was there. Suzanne Lyons also wrote an amazing book called Indie Film Producing: The Craft of Low Budget Filmmaking. I suggest you all pick it up. It's better than film school!
LINKS AND RESOURCES MENTIONED IN THIS EPISODE:

Suzanne Lyons IMDB
Suzanne Lyons Production Company
Indie Film Producing: The Craft of Low Budget Filmmaking
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!

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Here's Part Two of my interview with Suzanne Lyons. 


This week on the show I'm excited to have uber independent film producer Suzanne Lyons. She has been living in the indie film space for over twenty years. Working on SAG Ultra Low Budgets to over $15,000,000 budgets she has seen it all.Suzanne Lyons takes you by the hand and walks you through what it takes to produce your first feature film. She goes over the pitfalls, legal concerns, deliverables, selling to foreign countries and most importantly of all how she gets her financing for her feature films.
She laid out such amazing information that I had to break the episode up into two parts. I spoke at one of her famous indie film producing workshop and learned a ton while I was there. Suzanne Lyons also wrote an amazing book called Indie Film Producing: The Craft of Low Budget Filmmaking. I suggest you all pick it up. It's better than film school!
LINKS AND RESOURCES MENTIONED IN THIS EPISODE:

Suzanne Lyons IMDB
Suzanne Lyons Production Company
Indie Film Producing: The Craft of Low Budget Filmmaking
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How to Turn Your Independent Film into a Money Making Business
So many independent film creators just want to think of themselves as artists. That's fine but it's called show business for a reason. If you don't understand the business you won't be able to create the show.
In this episode I share with you what it takes to change your mindset and start thinking of your independent film not just as a precious piece of art but to also think of it as a product that needs to do well in the marketplace in order for you as the filmmaker to continue putting on that show!
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!

Action Items:
Subscribe to the Podcast on iTunes,  Stitcher or via RSS.
If you like this show take a listen to Dov Simens Interview:
America's Greatest and Quentin's Tarantino's Film Teacher

Enjoyed this blog post? Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks.
I welcome thoughts and remarks on ANY of the content above in the comments section below...

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I've been an editor now for over twenty years. When I was starting out I looked everywhere for some course, book, video, or anything that could teach me the black art of creative editing. There are many courses design to teach you AVID, Adobe Premiere or Final Cut Pro software but nothing on the creative process.
One day I was surfing the net and found this site called "Inside the Edit." The site was boasting the it was the world's first "creative editing course," which I found very hard to believe. I took the course for a test ride and OH MY GOD, they did it, they cracked the code.


LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Inside the Edit - 10% OFF email: IFHDISCOUNT@insidetheedit.com

Inside the Edit
Blackmagic Design DaVinci Resolve Software for Mac/Win/Linux
Adobe Premiere Pro CC
Final Cut Pro X
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!


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I know I'm being a bit dramatic when I say "Understand Post Production Workflow or DIE!" but I've seen and been involved with sooooooo many independent films that just die in post production because of one simple thing, they didn't understand post production workflow.
Post Production Workflow is not a black art that only a few understand, granted it is getting more and more complicated these days but you as a indie filmmaker can still understand the basics.

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If you have ever looked into selling your film at a film market then you more than likely have heard of the North America's largest film market, AFM or the American Film Market.
The American Film Market is a labyrinth of crazy characters, thieves, wannabes, filmmakers hustling their latest film, distributors, industry professionals and of course buyers and sellers from around the globe.
My guest this week is Ben Yennie who has written the only real guide to this carnival called "The Guerilla Rep: American Film Market Distribution Success on No Budget." You should not go to the American Film Market or any film market for that matter without reading this book.

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I always get asked by indie filmmakers:
“How do I get attention for my indie film?”
This is one of the major challenges facing indie filmmakers/entrepreneurs in today’s noisy independent film landscape. One fast way is to get an “influencer” to focus a little light onto you or your project.
Now this is much easier said than done. When I promote my projects I approach every online indie film influencer I can.
This includes indie film sites, niche sites (around your subject matter), industry news outlets, film magazines, movie fan websites, film festivals, podcasters, conventions, and movie reviewers.
In this podcast I tell the story of how the legendary film critic Roger Ebert was so amazingly kind to a young filmmaker.


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The world of film distribution is filled with unknown land mines. Even more mysterious is how an indie filmmaker can get their film placed on these elusive VOD or Video on Demand platforms?
That's where this episode comes in, we have video on demand expert Linda Nelson from Indie Film Rights, the film distribution arm of Nelson Madison Films. Linda walks us through the maze of VOD and film distribution options and explains what it takes to get your film placed in the potentially very lucrative platforms.


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Now before I get a bunch of hate mail please let me explain. I love cinematographers. You can;t make a movie without on. It's by far one of the toughest positions on set. The pressure is immense.
With that said the explosion of low cost cameras and lighting gear has thrown a huge amount of "cinematographers" into the market place.
This podcast is a warning to young and inexperienced filmmakers not to hire not just a director of photography but any top level crew member  solely because they on some of the latest gear.
This advice also goes for sound department, editorial, lighting, visual effects and definitely color grading. When hiring any top level positions in a film production it should be based on resume, demo reel, or reputation.


All I'm saying is don't hire a crew member just because of the gear he or she owns. You'll thank me. Take a listen to this episode to hear my horror story that cost me over $50,000. OUCH!

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Making scary independent horror films in the current marketplace is difficult to say the least. Today’s sophisticated audiences are getting harder and harder to scare every day

When many filmmakers start out they make a film in the horror genre. It worked for famed filmmakers like Guillermo del Toro, Sam Raimi, George Romero, James Wan, John Carpenter, Wes Craven, Roman Polanski, David Cronenberg and Alfred Hitchcock just to name a few.

In this week’s episode, I’m joined by the aficionado of horror films Edwin Pagan from LatinHorror.com. We discuss what it takes to make terrifying horror films, the difference between Latino horror films versus Korean or American horror films and what is truly terrifying.

We also packed this scary episode with indie filmmaking tips on the do’s and don’ts of indie horror filmmaking, adventures of a working cinematographer in New York City and what it really takes to scare the hell out of your audience.

Don’t listen to the episode alone. Happy Halloween and be safe everyone!

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An issue I see come up again and again is indie filmmakers shooting a format that they can't handle in post production. Currently the big buzz word is "Ultra High Definition."


Technically, "Ultra High Definition" is actually a derivation of the 4K digital cinema standard. However while your local multiplex shows images in native 4096 x 2160 4K resolution, the new Ultra HD consumer format has a slightly lower resolution of 3840 X 2160.
 

Now while having a larger image to play with is better it does bring a ton of baggage along with it. RED Cameras started popularizing 4k with it's first camera the RED ONE. It was so far beyond anything else on the market at the time that it ignited the imagination of indie filmmakers everywhere.
 

Now shooting 4k in todays world is a bit different. It cost much more than you'd expect once you factor in all the things you'll be dealing with down the pipeline.



In this episode I go over a ton of info on why you shouldn't shoot 4k if you're an indie filmmaker.

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Imagine you were back in the early 1900’s, when the film industry was a newborn. People were learning and experimenting with the new technology of moving pictures.
Craftsmen were excited about discovering new ways of creating art with this powerful and amazing new technology. You would think that could never be recreated in todays high tech world but you would be mistaken.
May I introduce you to Wakaliwood. A remarkable filmmaker by the name of Isaac Nabwana from Ramon Film Productions has created the Ugandan film industry, almost single handily without having any of the filmmaking knowledge or updated filmmaking technology.
As we get to study the giants that came before us like Orson Welles, Stanley Kubrick, Martin Scorsese, David Fincher, and Akira Kurosawa, Isaac only had his imagination and his undeniable passion for telling stories.
Isaac is easily one of the most passionate filmmakers I’ve ever met. With all the opportunities and technology we in the United States take for granted, he created an entire film industry with basically string and tape.
On this podcast we get a true understanding of what the definition of “passion” is. Alan Hofmanis and Isaac Nabwana open up on how they make a Wakaliwood action film, how Isaac taught himself every aspect of the filmmaking process and what he would like to see Ramon Films Production and Wakaliwood become on the world stage.
I alway hear excuses why indie filmmakers don’t pull the trigger on making their independent film. Like not enough money, I don’t know any screenwriters, don’t have the camera I want, can’t get name actors, don’t understand post production, can’t find people to help and the list goes on and on. I hope this podcast lights a fire under the asses of every indie filmmaker that listens to it.

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I'm never surprised anymore when I speak to filmmakers and ask them one simple but powerful question, does your film have an audience?


I usually just get a blank stare. This is probably the most important question you can ask yourself as a indie filmmaker. Now if you are making film as art and have no intention or care at all about making money with your film then should stop reading this email. 


Now, there's nothing wrong with that but that is not what I'm discussing here today. 


For the rest of us that want and need to make money with our films these few little words should be your mantra in the development process. 
Does Your Indie Film Have a Audience?

Most filmmakers get so excited by the concept of a story, the emotion or just with the idea of making a feature film that they never ask the question. They are scared to because it might stop the fun they are having. Trust me I know the feeling.



Listen to this episode and find out some tips and tricks to see if your film has an audience. 

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Crowdfunding has always been a mystery to me. I never really understood how indie filmmakers can raise $50,000, $100,000 or $1,000,000 to make their films. I tried once with the "if I built they will come" idea but they never came. 
When I discovered this weeks guest, Emily Best CEO and founder of the indie film crowdfunding website Seed & Spark, I had to get her on the show. I attempted to squeeze out of her every bit of crowdfunding knowledge I could. We discuss:

How to create a successful crowdfunding campaign?
What are the biggest mistake indie filmmakers make when crowdfunding their film?
How should indie filmmakers crowdsource (building an audience for you, your film or your company)?

How do indie filmmaker determine how much to ask for when crowdfunding?
How do you build a killer crowdfunding page and video?
What incentives should you give when crowdfunding?
How do you build momentum so your audience will follow your film's creation from beginning to end?
How do you determine if your film has an audience?

All of these question on crowdfunding are answered and more. Seriously this podcast is a condensed master class on crowdfunding. I was selflessly asking the questions I wanted the answers to and now you guys benefit as well. Enjoy!

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So I directed a small action short film a few years back called "BROKEN." I shot the film on MiniDV Tape (yes I'm old) on the Panasonic DVX 100a, the indie film workhorse of its day. My team and I filmed it in West Palm Beach Florida (not exactly the Mecca of the film industry) and it starred only local, non named actors. 
Now once the filming was over I marketed the living hell out of that little short. It went on to screen at over 250 international film festivals, win countless awards and be covered by over 300 news outlets. That little film had a life of it's own. I even got a review of legendary film critic Roger Ebert:

"BROKEN is essentially a demonstration of the mastery of horror imagery and techniques. Effective and professional." - Roger Ebert

Now you must be asking, 
"But Alex how the hell did you make money with it?" 
Well, I knew that no one would pay real money for a 20 minute short film, shot on MiniDV, with no name actors and from a first time director to boot. So I planned to create a guerrilla indie film school with over 3 hours of footage, tutorials, commentaries and more. 
For the whole story take a listen.

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Is Film School Really Worth the Cost?
Let me start by saying that I’m a big believer in education and constant learning throughout life. I believe that the only way to truly experience the amazing things the world has to offer is by educating yourself as much as humanly possible.
With that said, people who go to film schools to educate themselves about the basics of filmmaking are fools. Now full disclosure, I was one of those fools.
A little about me, I’ve been in the film industry for almost twenty years. I started my filmmaking journey by attending a technical college in Orlando, FL in 1995. My first job in the industry was in the post-production world.
As years went by I learned different crafts and wore different hats; I became a director, writer, producer, editor, colorist, post-production supervisor and visual effect supervisor.
I’ve done pretty much almost every job imaginable in the film business. In my multicolor travels I’ve had the opportunity to work with numerous indie filmmakers, with Oscar® and Sundance winners and even a Moose Jaw Film Festival winner, so every kind of filmmaker under the sun.
When I went to film school non-linear editing was just getting off the ground. No AVID, Final Cut or After Effects. No DSLRs. No RED Camera. No Mini-DV cameras. No low cost digital VFX. No YouTube. No DVDs with awesome film commentaries and by the way, the Internet was just getting started.
Listen to the episode for the skinny!

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IFH 027: Kico Velarde - From Being Broke to Emmy Winner
The Cinderella story that is Kico Velarde's life is remarkable. From being a struggling out of work editor to becoming the toast of the Cannes International Film Festival to winning an Emmy for producing Jay Leno's Garage. Crazy!!!
His film PVC-1 - was accepted into the Director's Fortnight at the Cannes International Film Festival and was nominated for the Camera D' Or Award in 2007. He became the toast of the festival but barely had two cents to rub together as he spent his last cash on tickets to the festival.
After the festival it took sometime to get back on his feet but then got an opportunity of a lifetime, to work as an editor on a small YouTube show about Jay Leno's Garage. Fast forward a year and he wins an Emmy for the show and the rest is history.
Kico's story is truly an inspirational one. Take a listen and get ready to be inspired.

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Ah, the good ol' digital vs film debate. Well you won't get any of that in the article or podcast. With Quentin Tarantino's The Hateful Eight coming out Dec 25, 2015, and it being shot in "Glorious 70mm," there has been a lot of chatter about film again.
With filmmakers like Christopher Nolan shooting 35mm and IMAX on his latest film and JJ Abrams shooting Star Wars: The Force Awakens in 35 mm, film seems to still be an art form that many filmmakers are not ready to let go of just yet.
What Quentin Tarantino has done with The Hateful Eight is unique. He has brought back to life the Ultra Panavision 70 technique along with anamorphic 65mm lenses that haven't been seen since the 60's.
Here are some specs:

Camera: Panavision 65 HR Camera and Panavision Panaflex System 65 Studio
Lenses: Panavision APO Panatar
Film Stock 65mm: Kodak Vision3 200T 5213, Vision3 500T 5219
Aspect Ratio: 2.75:1


Listen to the episode for the rest.

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Blueprint to Make it in the Film Business with Stage 32
Have you ever wanted an easy blueprint to make it in the film business? I know I have. Well you are in for a treat. I had an amazing interview with Richard "RB" Botto from the online film community Stage 32.com.
Stage 32 is a US-based social network and educational site for creative professionals who work in film, television and theater. Stage 32 links professionals in the entertainment industry including directors, writers, actors and entertainment staff.
It caters to film industry professionals with featured bloggers, online education taught by industry professionals, news from Hollywood and filming locations around the world, Stage 32 meetups page, an online lounge and a film business jobs page that allows members to connect with others on film ventures, along with standard social media functions.

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So you want to make music videos. Want to follow in the foot steps of David Fincher, Mark Romanek and Spike Jonez? It's not a bad plan at all. Many filmmakers start off in music videos. It's a great place to get experience, learn the tools and experiment.
I've directed a few music videos in my day and have worked in some capacity on hundreds over the years. I wanted to do an episode where I breakdown my process for making a music video. The music video in question is for the band Ozomatli and the stand up comic Gabriel Iglesias aka Fluffy.
Gab and I have done a few projects together over the years, two of which were music videos, Hey It's Fluffy and Stand Up Revolution.
I had an absolute ball shooting both. Today we will be dissecting Stand Up Revolution, which was for his Comedy Central show "Gabriel Iglesias Presents: Stand-Up Revolution." It was a large production for me and I learn a ton.
Take a listen!

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Linda Seger is a legend when it comes to screenwriting coaching and script consultanting. She's been couching for over 30 years and pretty much invented the job title. After reading her best selling book, "Making A Good Script Great" I had to have her on the show.
She's  best known for her method of analyzing movie scripts, which she originally developed as her graduate school dissertation on "What Makes a Great Script." She founded the script consulting industry, becoming the first entrepreneur who saw script consulting as a business, rather than an offshoot of seminars or books.
Linda Seger has consulted on over 2000 screenplays and over 100 produced films and television shows including Universal Soldier, The Neverending Story II, Luther, The Bridge (miniseries,) etc.
Take a listen to this master class on screenwriting with Linda Seger and get ready to take notes!

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So how can a Post Production Supervisor save your butt? Well I've been a Post Production Supervisor for over 15 years and have seen a lot of indie filmmakers get beaten up, taken advantage of and just plain ripped off in the post production process.


In short the Post Production Supervisor is there to protect the film or project from going over budget, ripped off and making sure everything is done on time and budget. 


Here is the official definition of a Post Production Supervisor:


Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. 


The Post Production Supervisor has a pivotal role in ensuring that the film's post production budget is manageable and doable, and that all deadlines are met. 



Take a listen!

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Have you always wonder what happens to indie filmmakers  who win HUGE film festivals like the SXSW Film Festival? Well wonder no more.
I've invited one of my oldest friends onto the show, Brant Sersen, the writer and director of the SXSW Audience Award winning film "Blackballed: The Bobby Dukes Story" staring Rob Corddry.
Some other films he's directed are Release, Splinterheads, and Sanatorium.
Over the years I've heard Brant tell me all sorts of stories about his misadventures in Hollywood. So if you are expecting a "Entourage" style story you're on the wrong website.
What I try to do with Indie Film Hustle is to give you the no BS info, stories and experiences you can only get by being in the heat of battle. Brant Sersen's story is no different.
Take a listen...

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Have you been confused and frustrated when directing actors? I think every director and actor has been frustrated with each other at one or more points in there career but don't worry Nina Foch is here to help. I'll get to who she is in a moment.
For a filmmaker, directing actors can be a daunting task. Actors seem to have a language of their own which us directors have a very hard time understanding. For those masters like Steven Spielberg, Quentin Tarantino, and Martin Scorsese, directing actors is second nature.
They are able to understand the language of the actor. They are able to make a scene come alive. No matter how well a scene is written, if the direct can not communicate with his or her actors then all is lost.
What to do? Enter Nina Foch, the legendary film teacher from the gold standard of film schools, USC School of Cinematic Arts. 
As I was looking for filmmaking courses on-line I came across this gem of a course that I couldn't believe was available to us mere indie film mortals. A master class from USC School of Cinematic Arts called Directing the Actor by Nina Foch. 

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Surviving the Hollywood Implosion with Scott McMahon
Is there an implosion coming to Hollywood? Film Trooper Scott McMahon thinks so and he's not alone. Think its crazy, think again. Listen to what the king of the blockbusters Steven Spielberg had to say,
“There’s going to be an implosion. Mega budget movies are going to go crashing into the ground and that’s going to change the paradigm.”
If the Hollywood implosion does come to fruition, then where do aspiring filmmakers go to make a living? Step in Film Trooper Scott McMahon. Scott created a book entitled "How to Make and Sell Your Film Online and Survive the Hollywood Implosion While Doing It."
There are a lot of books on how to make a movie and how to be part of the Hollywood machine; but this step-by-step guide will show you, the über independent filmmaker...
...how to bypass all of that and get to the heart of making and selling digital products (your film) directly to an online audience and survive the Hollywood implosion while doing it.
I've known Scott McMahon for a while now and he's a wealth of information. He's truly trying to help the "über independent filmmaker" make it in the film business. His site Film Trooper is a perfect extension of his mission.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Happy New Year! I has been ana amazing 2015 for Indie Film Hustle. We launch five short months ago and have grown at a alarming rate. Thanks to the IFH Tribe the Indie Film Hustle Podcast has become the #1 filmmaking podcast on iTunes, just three months after launch...CRAZY!
The Indie Film Hustle Youtube Channel is closing in on over 1000 subscribers and I was able to gather over 23,000 followers throughout all the IFH social media platforms. Again I have all of you to thank. 
This is a special New Years 2016 edition of the the show. I want to let you know what to expect from IFH in 2016 and wanted to give you a little motivation as well. 
Sit back and get ready to be motivated! Keep that hustle going in 2016 and beyond. 

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

OK, I wanted to start off the new year on the right foot. Over the course of my career I've seen so many filmmakers obsess over film gear, to a paralyzing end. They focused so much on gear that they never make actual films.
No one is saying you shouldn't keep up to date on the latest film gear. You need gear, without it you can't make films but cameras, lenses, drones, and grip equipment are just tools.
Do you think Chris Nolan, Martin Scorsese, or Quentin Tarantino obsessed about film gear? No. They learned to tell stories first and then grabbed the tools available to them to tell those stories. Sure now they play with all the latest toys but I can guarantee you Quentin Tarantino worked on The Hateful Eight script first before he thought of shooting it on 70mm.
You can pay $1 for a hammer or $100 but both will put the nail in the wood. It’s the master carpenter who practiced and took the time to learn how to hit that nail just right, with one swing, that is the craftsman.
Don’t rely so heavilyly on film gear to tell your stories, because gear is not the storyteller, you the filmmaker are. A good filmmaker tells a story with a RED Dragon or an iPhone as this year's Sundance Film Festival Winner 'Tangerine' proved.
Don’t believe the hype from all the gear companies having you run out and upgrade your cameras or lenses everytime they release something new. Stop obsessing over gear and start making movies! Take a listen to hear my argument against this "gear porn" epidemic.

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We've all read in Variety or The Hollywood Reporter of some no name screenwriter selling his or her screenplay for a million bucks. Ever wonder how they did it? What structure did they use? What tricks of the trade were employed?
May I introduce Paul Castro, the writer of one of my favorite films August Rush. Paul Castro is a produced, award winning screenwriter and world-renowned screenwriting professor.
"Structure...is the canvas on which we paint with words." - Paul Castro
His project, August Rush was produced by Warner Brothers and starred the late great Robin Williams, Keri Russell, Freddie Highmore, Danny Glover, Kelsey Grammer, and Jonathan Rhys Meyers. The film took Paul Castro into the belly of the Hollywood beast.

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So I know working in the film industry can be tough. Breaking in is even tougher. Many people tell you you have to work for free or intern somewhere to get a foot in the door. Now those people aren't totally wrong. 
The question is when do you work for free? When is trading your time, energy and effort really worth it? In this episode I break down when you should work for free or cheap and when you need to stand your ground and get paid. 
This episode is not just for film students. I tell you my story of when I got to Los Angeles and what I choose to do and why even after having 10 years of experience, credits and work under my belt. Enjoy this eye opening episode. 

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The Indie Film Hustle Podcast has been around for five short months. I have not had the same guest on twice, until now. Paddy Bird from Inside the Edit. Last time he was on Paddy Bird dropped some major post production knowledge on the IFH Tribe. I had to have him back.
Just as a refresher, Paddy Bird  is one of television’s most prolific and accomplished editors. For the past fifteen years he has edited dozens of prime time documentary, entertainment and reality TV shows for British and American television. He has even worked in war zones, spending time editing news stories on location in Iraq.
He also created Inside the Edit, the world's best course on creative editing...period. You can get more info on Inside the Edit and listen to our last podcast here: IFH 013: Inside the Edit.
This time around we discuss how to build a career as an editor and a freelancer. Paddy goes into a ton of detail and as always delivers the goods. You may need to listen to this episode more than once. Enjoy my conversation with Paddy Bird!
If you're interested in checking out his master editing course click here: Inside the Edit
TO GET 10% OFF USE THE PROMO CODE: IFHCREATIVE

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Want to hear a crazy story on how one filmmaker used a hybrid distribution and marketing strategy to sell his film Bomb It. May I introduce Jon Reiss.  After hearing his story I had to have him on the show so he can tell his story to the IFH Tribe.
Jon Reiss was named one of “10 Digital Directors to Watch” by Daily Variety, Jon Reiss is a critically acclaimed filmmaker whose experience releasing his documentary feature, Bomb It with a hybrid distribution and marketing strategy.
This strategy inspired him writing Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era, the first step-by-step guide for filmmakers to distribute and market their films. Two years ago he co-wrote Selling Your Film Without Selling Your Soul and last year co-wrote Selling Your Film Outside the U.S.: Digital Distribution in Europe.
Jon Reiss teaches in the Film Directing Program at California Institute of the Arts. He created the course "Real World Survival Skills: Everything I Wish I Had Been Taught in Film School" which covers the practical/business aspects of filmmaking from fundraising through distribution.
Jon is a very interesting filmmaker. When I spoke to him he brought the heat and shared a ton of film marketing and distribution knowledge.

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The one thing more difficult than actually making an indie film is marketing and selling that film. I get asked all the time the same question:
"How can I make CASH, MONEY, DINERO with my film?"
So I decided to put together this very dense podcast with suggestions on multiple revenue streams for independent films. This podcast is probably one of the most info packed episodes I've ever done.
So get your iPad ready to take some detail notes cause this episode is worth MUCHO DINERO for the filmmaker who wants to put in the work.
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

IFH 023: How to Crowdfund Your Film Like a Pro w/ Emily Best
IFH: 025: How t Get a Theatrical Release for Your Indie Film
IFH 017: Guide to Selling Your Film to VOD
IFH: Filmmaking Hacks
Twitter Hacks: 10,000 True Fans in 10 Weeks
USC Film School's ONLY On-line Course: Directing the Actor
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!
Kung Fury
Turbo Kid
Vimeo Pro
VHX.tv
Seed and Spark
Tugg
Indie Rights

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How does a film geek turn his love for movies into a media empire? Ask Todd Brown from Twitch Film. I met Todd Brown over ten years ago when I was promoting my short film "BROKEN." He did a killer review of the film and we became fast friends.
His movie review site Twitch Film.com was just starting out then but it has grown into a leading voice in global cinema. Twitch Film focuses on more obscure, independent and international films; something that was missing from the movie review site blogosphere.
Twitch Film's focus on those kind of films made it stand out and over the years has grown into a mega movie website. My advice, always be nice to people you never know when you paths will cross again.
Todd leveraged his knowledge and access to great international and independent films and joined forces with XYZ Films.
XYZ Films is an integrated content company whose mission is to empower visionary storytellers from every corner of the planet. As an independent production company and worldwide sales agency, the company is uniquely suited to identify talented filmmakers and bring their stories to life.
You might of heard of some of their breakout hits "The Raid " and "The Raid 2."
Todd and I sat down to discuss all things film geek, the state on independent film and the new landscape of film distribution. Enjoy!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Getting into film festival is getting tougher and tougher everyday. Indie filmmakers can end up spending thousands and thousands of dollars submitting to every film festival around, and there are a ton. At last count there was over 3000 film festivals around the world. That’s a lot of submission fees.
When I was doing my rounds with my films I learned a few things. A few tricks that I put into a FREE eBook: “Six Tips to Get into Film Festivals for cheap or FREE.”
This eBook was such a success that the Indie Film Hustle Tribe kept reaching out to me to create some sort of “master class” on film festivals. Well I heard the call and teamed up with arguably one of the leading voices in film festivals Chris Holland from FilmFestivalsSecrets.com.
We got together and create a one of a kind resource for any filmmaker even thinking of submitting to a film festival. We call it Film Festival Hacks!
In this episode I give you a SNEAK PEEK at Film Festival Hacks and let you listen to a FREE lecture from the course. So get ready to take notes and have a taste of Film Festival Hacks.
Oh, before I forget Chris Holland is also giving you another FREE sample of the course on his podcast so when you are done listening to this head over there for more FREE content. Click here: FilmFestivalSecrets – Podcast

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Want to learn how to make it as a working actor? Well studying actor, producer and director Yancey Arias would not be a bad start. I met Yancey Arias years ago and since have worked on several projects together. I've always admired how Yancey was able to always keep working.
To date Yancey Arias has over 70 acting credits in film, television and Broadway. His credit list is kind of nuts:

Castle
NCSI: New Orleans
The Sopranos
Bones
Hawaii 5.0
Elementary
Blue Bloods
CSI: NY
NCIS: Los Angeles
Burn Notice
The Shield

I just got tired of typing, his credit list is impressive to say the least. He's also worked on huge studio tentpoles live Live Free or Die Hard, Time Machine and the Hands of Stone starring Robert DeNiro.
I sat down with Yancey while he was in between setups on the hit show Marvel's Agents of Shield. He'll be popping up on the show in 2016. I really wanted to get a seasoned actor's perspective on what it takes to make it in Hollywood.
We also discuss his work on indie films, his new life as a director and producer with his production company NYC Films and much more. Enjoy!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

I know that everyone reading this has had a moment in time where someone did not believe in them for one reason of another. It is a part of life and a REAL BIG PART of the film industry. So many times in my career I was told that:
"You nuts! That'll never work."
or
"That's never been done before."
Well I love hearing that. I has taken time for me to enjoy when people say "it can't be done." I truly use it as fuel. You must first believe in yourself before anyone will believe in you.
Now you also have to be smart about this. You can't blindly believe in yourself without having a plan, educating yourself and understanding the playing field you'll be walking on to.
In this episode I go over exactly that, how to deal with nonbelievers and how to build a plan to make your goal come true. Please share this episode with anyone who needs to hear it.

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Stephanie Palmer - How to Pitch Your Film Like a Pro
Ever wanted to learn the dark craft of being able to pitch your story idea successfully? Stephanie Palmer has made it her life's mission to help people do just that. Stephanie Palmer is a former MGM Pictures executive and best-selling author of the book "Good in a Room: How To Sell Yourself (And Your Ideas) And Win Over Any Audience"
She has heard thousands of pitches. She know how to and how not to pitch your screenplay or story idea. She worked on films like Legally Blonde, Armageddon, Con Air and was even on an intern on Titanic, there's a very inserting story there.
Learn how to pitch your screenplay like a pro with Stephanie Palmer.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

So the question of the moment is
"Why are the Oscars® so white again? #OscarsSoWhite
The 88th Annual Academy Awards haven’t even aired yet, and there is a hurricane of drama surrounding Hollywood’s most exciting night. Celebrities like Spike Lee and Will and Jada Pinkett Smith have called for a boycott due to a lack of minority nominees.
If you look at the graphic below (Courtesy of www.mirror.co.uk) you see the Acadamy doesn't have a firm foundation to stand on.


Courtesy of www.mirror.co.uk

I usually don't discuss topics like this on Indie Film Hustle but when the opportunity to have a sit-down with RB Botto from Stage32.com and talk all things Oscar I jumped at the chance.
Related: Filmmaking Hacks: How to Shoot and Market Your Indie Film
We discuss not only "Why are the Oscars® so white again? #OscarsSoWhite" but we discuss this year's Oscar races, surprises, snubs and we talk about the current state of the film business. Take a listen!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Film distribution in a mystery to most indie filmmakers. It is filled with deception, scams, mis-information and straight out LIES! I wanted to put together an episode spotlighting the five major lies filmmakers hear about film distribution.
Like many truths in the world these might not be easy to swallow but there is hope. If you have a plan "BEFORE YOU SHOOT YOUR FILM" your odds of success go up greatly.
I see so many indie filmmakers killing themselves to make their films but have no idea how to recoup their money or actually make a living doing what they love to do. I hope this podcast helps.
Insider View of Creating an Indie Feature Film - FULL ACCESS MEMBERSHIP

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Over the years I've seen many of my fellow indie filmmakers get completely ripped off when they entered the post production process.
So many promises are given and the rates they charge are criminal. I wanted to put together a podcast to pull the curtain back on the "true" pricing of post production services.
Now this is based on my experience working in Los Angeles so the prices might differ depending where you are in the country or the world.
I hope this episode provides a great amount of value and that it saves you your hard earned cash while making your next indie film. Enjoy!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Michael Hauge - Writing a Screenplay That Sells
You are in for a treat. This week's guest, MICHAEL HAUGE has been one of Hollywood’s top script consultants, story experts and authors for more than 30 years. 
He coaches screenwriters, novelists, filmmakers, professional speakers, internet marketers and corporate leaders, helping transform their stories and their audiences using the principles and methods of Hollywood’s most successful movies. 


Michael has consulted on films starring – among many others - Will Smith, Tom Cruise, Reese Witherspoon, Julia Roberts and Morgan Freeman, and has presented lectures and workshops to more than 70,000 participants worldwide. 
He is the best selling author of Writing Screenplays That Sell (now in its 20th Anniversary Edition), and Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read. According to Will Smith, 

“No one is better than Michael Hauge at finding what is most authentic in every moment of a story.” - Will Smith

After our interview Michael Hauge and I decide to bring one of his best courses to the IFH Tribe. We called is Screenplay and Story Blueprint: The Hero's Two Journeys
If you click here you'll get a SPECIAL IFH DISCOUNT: Screenplay & Story Blueprint

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Is an agent or talent agency needed to make it in Hollywood? Well it helps! Seriously, this is a question I get asked all the time.
In this episode I go over what you need to do to get an agent and also help you figure out if you need one right now. Below are the seven major talent agencies in Hollywood.
APA Talent Agency
Size: 3,400 clients; 325 employees (210 agents, 15 managing partners); offices in Los Angeles, New York and Nashville
Origin story: Founded in 1962 by former MCA agents David Baumgarten, Roger Vorce and Harvey Litwin.

CAA Talent Agency
Size: About 5,000 clients; 1,500+ employees; 11 offices worldwide, including in China
Origin story: Founded in 1975 by William Morris agents Mike Rosenfeld, Michael Ovitz, Ron Meyer, Bill Haber and Rowland Perkins.

GERSH Talent Agency
Size: About 2,000 clients; 175 employees (75 agents, 16 partners); offices in L.A. and New York
Origin story: Founded in 1949 by Phil Gersh.

ICM PARTNERS Talent Agency
Size: 4,500+ clients; 400+ employees (200+ agents and execs, 40 partners); four offices
Origin story: Formed in 1975 with the merger of Creative Management Associates and International Famous Agency.

PARADIGM Talent Agency
Size: 2,500 clients; 370+ employees (160 agents); six offices
Origin story: Founded in 1992 by Sam Gores through the mergers and acquisitions of several boutiques

UTA Talent Agency
Size: 3,000+ clients; 500 employees (200 agents, 46 partners); offices in L.A. and New York
Origin story: Founded in 1991 with the merger of Bauer-Benedek and Leading Artists.

WME | IMG Talent Agency
Size: 4,000+ clients; nearly 5,000 employees (200 agents) in 25+ countries
Origin story: WME | IMG was founded in 2014 with the merger of IMG and WME, which was founded in 2009 with the takeover of William Morris by upstart Endeavor.
Hope this episode helps you out on your journey to get an agent. Good luck!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Have you ever wanted to know what really happens behind the scenes at a top level film festival like the HollyShorts Film Festival? Well this week I kidnapped co-founder and film festival programmer Daniel Sol, tied him up in a darken warehouse and shine a bright light on his face to get the truth out of him. 
The interview might not have been that dramatic but Daniel laid down a ton of behind the scenes knowledge bombs you all you Indie Film Hustlers out there. 

HollyShorts! and I go way back. My first short film BROKEN played at the very first HollyShorts Film Festival over a decade ago and I've been friends with Daniel Sol and Theo Dumont (co-founders) ever since. 
They truly care about filmmakers and were name one of the Top 25 film festivals in the world worth the submission fee by Filmmaker Magazine. 
Enjoy my candid chat with Daniel Sol from the HollyShorts! Film Festival.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Working with a professional colorist can be intimating if you haven't done it before. I've been a colorist for over 12 years and have spent my fair share of time in a color grading suite.
I decided to put together a few tips on how filmmakers and directors should work with a colorist. I also included a few videos to help you along on your post adventures.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Every once in a while I get sent a story that blows my mind. They story is a 17 year old 1st time director shoot and sells her first feature film (that was shot on 16mm) right out of the gate.
How that hell does that happen? Well may I introduce you to Kansas Bowling, the director of the feature film B.C. Butcher. Inspired by the likes of Russ Meyer, Annette Funicello, and Roger Corman, Kansas and her friend Kenzie began writing a script in high school about a tribe of cavewomen being stalked by a prehistoric monster.
Thus, the first prehistoric slasher was born! At only 17, Kansas directed, co-wrote, and funded her own feature film, entirely shot on 16mm, called “B.C. Butcher”.
The film is unique in many ways, being a horror flick and a comedy, featuring live music, gore, gags, and campy historical inaccuracy. Because of this, immediately after shooting, “B.C. Butcher” caught the eye of Lloyd Kaufman (who will be a guest on the podcast in a few weeks), legendary producer/director and founder of Troma Entertainment Inc. Troma acquired the film for distribution and is now slated for a 2016 release.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

A Indie Film Hustle Tribe member recently asked me

"Should You Work for Deferred Payment or Back End Points?"

Believe it or not I get this question A LOT! So I decided to dedicate a podcast episode to the question. There are times I would say yes definitely work for deferred payment or back end points. 
I heard a story of a screenwriter that was asked to do a rush job, write an entire screenplay in two week over Christmas vacation. He really didn't want to do it but the agent said he could get him paid and get him back end points. The screenwriter took the gig, the producer love the script and the movie went on to gross $500,000,000 world wide. He took home over $20 million. Not bad.
So yes there is a time to make that deal but alas there are times you should never work for deferred. Take a listen to when to and when not to work for deferred payments or back end points. 

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If you have seen Star Wars then you know Joseph Campbell's work. If you ever have seen The Lion King then you have seen one of Campbell's best student's, Chris Vogler, work.


Chris Vogler wrote the game changing book  The Writers Journey: Mythic Structure for Writers. I read this book over 20 years ago and it changed the way I look at story. Chris studied the work and principles of the late master Joseph Campbell. His book The Hero with a Thousand Faces was the bases for Star Wars as well as almost every other Hollywood feature film in the past 60 years. 
What Chris Vogler did so well is that he translated Campbell's work and applied it to movies. The Writer's Journey explores the powerful relationship between mythology and storytelling in a clear, concise style that's made it required reading for movie executives, screenwriters, playwrights, scholars, and fans of pop culture all over the world. He has influenced the screenplays of movies from THE LION KING to FIGHT CLUB to BLACK SWAN to NOAH.

"I teach sometimes, and always say that Chris Vogler is the first book that everyone's got to read." 

-- Darren Aronofsky , Oscar-nominated Screenwriter/Director, Noah, Black Swan, The Wrestle

Pretty high praised from one of the best filmmakers working today. In this episode I ask Chris to breakdown a bunch of concepts of the Hero's Journey, why it resinates with people around the world and what makes an amazing hero and villain. 
Enjoy my conversation with Chris Vogler.

Screenwriting & Story Blueprint: The Hero's Two Journeys
The Writers Journey: Mythic Structure for Writers, 3rd Edition
Myth & the Movies: Discovering the Myth Structure of 50 Unforgettable Films
The Hero with a Thousand Faces (The Collected Works of Joseph Campbell)
Memo from the Story Department: Secrets of Structure and Character
The Million Dollar Screenplay

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Top 5 Film Festival SCAMS Filmmakers Need to Be Aware Of!


I've been at a fair share of film festivals in my life and I've submitted to many more than I've been accepts to. With that said I have seen many less than honorable film festival organizers throughout the process. 
Now not all film festivals are run by grifters and con men but you need to be aware of the signs that a film festival you are submitting to may just be in existence to remove you from you hard earned cash and not to celebrate amazing independent film and filmmakers. 
I put together a few warning signs you should look out for when submitting to film festivals. Stay safe out there everyone!

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IFH 063: The Walking Dead - Working on the Dead Set
If you are a Walking Dead fan you are going to LOVE this episode. If you ever wanted to know what an assistant director does on set you are going to LOVE this episode. 
On today's episode we have a long time friend Vince Gonzales. Vince has been working in the film industry for over top decades. His IMDB page is pretty crazy. He's worked on 90 classics like The Sandlot, Speed and What Dreams May Come. Now after 2000 his credits start to heat up: Pearl Harbor, Six Feet Under, Charmed, Boston Legal, Grey's Anatomy, Transformers: Age of Extinction and of course The Walking Dead. 
I wanted to bring Vince on the show to discuss his time on The Walking Dead but also what it takes to be an assistant director on both small and "monstrous" sets. Don't listen to this episode in the dark. 

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No One Gives a CRAP What You Shoot Your Film On!


OK, so before I get bombarded with hate email please hear me out. I was speaking to my filmmaker inner circle the other day and the topic of format and camera came up. I'm a huge tech head. I love gear as much as the next filmmaker.
Hell, you can't make movies without gear. Advances in filmmaking technology has liberated a generation of storytellers, filmmakers and content creators. Now does the audience give a SH*T about what camera you used to make your movie...NO!
If you want to know what it really takes to be a successful filmmaker in today's world take a listen to this short podcast.

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What can I say about Lloyd Kaufman? Director. Writer. Producer. Indie Filmmaker. Innovator. Nice guy. Pain in the ass of main stream media. I believe all of those statements are true and then some. 
Lloyd Kaufman is one the original indie filmmakers going back to the 1970's. The Troma Universe was born in 1974 with a series of highly original, raunchy comedies such as Squeeze Play!, Stuck On You!, Waitress!, and other film titles ending with an exclamation point.
In my favorite decade, the 80's, is where Lloyd Kaufman really made a name for himself. His 1984 sleeper hit The Toxic Avenger launched his career and his production company Troma Entertainment. Creating his own brand of independent films, Lloyd Kaufman discovered there was a market for his "unique type" of films. 
The success of The Toxic Avenger was followed by a string of commercial and artistic triumphs in a similar vein, blending fantasy, comedy, bad ass action, and a bit of eroticism in a style that can only be described as “Tromatic”.
To say this was an enjoyable and entertaining interview would be an understatement. Enjoy my conversation with the one and only Lloyd Kaufman.

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This is a question I've been asked many times.

"What is an Independent Film?"

Is George Lucas an independent filmmaker? He did make all his films outside the studio system and paid for them all out of his pocket. Is the $8000 horror feature created to with the sole purpose to be sold an independent film? Is the five million dollar film starring a major movie star that worked for scale an independent film?
Take a listen

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Submitting to film festivals is a torture. Did I get in? Did the programmer watch it yet? When will I know? How much to submit? You wait by your email to see if Sundance or SXSW accepted you? Wouldn't be amazing if you had some insight to the film festival process? Maybe even some torture Film Festival Secrets?
On the show today I have one of the leading authorities on film festivals, Chris Holland from Film Festival Secrets.com. The man literally wrote the book on the subject, Film Festival Secrets: A Handbook For Independent Filmmakers.
So enjoy my conversation with Chris Holland.

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Do You Need a Movie Star to Sell Your Indie Film?
Being in post production for over 20 years, many films have walked through my doors. Some with huge movie stars that go nowhere and other with no stars that win Sundance.
The question is do you really need a movie star in your independent film to be able to sell it? The answer is yes...and no. I layout specifics on when and if you need star power in your film and I discuss what the new definition of star power is today.
The times they are a changing my indie film hustlers and if you don't change with them you'll be left behind. Take a listen and let me know what you thin in the comments below.

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I'm always looking for indie filmmaking models to study. I like to analyze how other filmmakers make successful indie films while doing through a new DIY method, self distributing their film or achieving critical and fan respect for their work.
Well I found a film that checks all the boxes, For Lovers Only create by the Polish Brothers, Michael and Mark Polish (more on that film later). These filmmakers have been making films, on their terms, for over a decade now.
Since premiering at Sundance with their debut feature, 1999's Twin Falls Idaho, the brothers have remained steadfast in their commitment to creating personal, character-driven films.
How does one make money shooting a feature film on a DSLR? The film in question came from a screenplay that Mark Polish wrote more than a decade ago called For Lovers Only, about an American photographer who runs into an old flame while on assignment in Paris. The film follows the rekindled lovers around Paris, France in a series of quiet vignettes that gradually reveal more about the complications in the couples' lives.
Related: DSLR Video Tips: How to Make Your DSLR Film or Video Look More Cinematic
Inspired by the guerilla style of the French New Wave filmmakers of yesteryear, Mark and Michael Polish came up with a simple plan: they'd fly over to France with only a Canon 5D Mark II camera (which they already owned) and one actress (Castle star Stana Katic) in tow and just go out and shoot feature film. Oh did I mention it was in black and white?
Michael Polish sat down with me for an amazing interview about his filmmaking life, Hollywood and what it means to be an artist.

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So this week I'm doing something different. I occasionally get asked to be guest on other people's podcasts. In these podcast I go over topics I might not of spoken about on the IFH Podcast in the past so to mix things up, with the permission of the hosts,  I'll be uploading bonus episodes with these interviews.
In my effort to bring you more value I think you'll enjoy these interviews. First up is my interview with Doc Kennedy from the Filmmaker's Focus Podcast. This interview was a ton of fun. 

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Why would you want to ‘Save the Cat’? If you are a screenwriter or aspiring one you should of heard by now of Blake Snyder’s game changing screenwriting book.
In his 20-year career as a film producer and screenwriter, Blake Snyder sold dozens of scripts, including co-writing Blank Check, which became a hit for Disney, and Nuclear Family for Steven Spielberg — both million-dollar sales. Named “one of Hollywood’s most successful spec screenwriters,” Blake sold his last screenplay in 2009.
His book, Save the Cat!® The Last Book on Screenwriting You’ll Ever Need, was published in May, 2005, and is now in its 24th printing. When I read this book it really had an impact on my storytelling and screenwriting.
Thankful Blake was not done and apparently it was not quite the last book on screenwriting you’ll ever need, as the eagerly awaited sequel, Save the Cat!® Goes to the Movies: The Screenwriter’s Guide to Every Story Ever Told, was published in October, 2007 — shooting to #1 in the Screenwriting and Screenplay categories on Amazon.com. Blake’s third book, Save the Cat!® Strikes Back: More Trouble for Screenwriters to Get Into… And Out Of, was published in November, 2009.
Blake’s method has become the “secret weapon” of many development executives, managers, and producers for its precise, easy, and honest appraisal of what it takes to write and develop stories that resonate. Save the Cat!® The Last Story Structure Software You’ll Ever Need has codified this method. Blake passed unexpectedly in 2009 but the Save the Cat community carries on Blake’s work.
I had the pleasure of interviewing one of Blake’s main pupils Jose Silerio. Jose is carrying the torch of Blake’s work and travels around the world well…saving the cat.
Enjoy my informative interview with Jose Silerio.

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How Marketable is Your Film Idea or Screenplay?
So how marketable is your film idea or screenplay? I know so many screenwriters and filmmakers who spend months and sometimes years on an idea that is cool to just themselves. 
Depending on what you are attempting to achieve with your story, you should always figure out if you idea is marketable or if you have a fighting chance of selling the screenplay or final film. 
Paul Castro, the writer of the Warner Brothers feature film August Rush (Starring Robin Williams) shares with us his thoughts on how to test and find marketable ideas. 

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Film Gear in Cinematography Today with Ernesto Lomeli
Oh, the dilemma! What film gear should I use for my film? Which camera will give me the look I want for my project? What gear can I afford? Well as I've said before:

"Film gear does not make a movie, the story does. No one ever won Sundance or an Oscar® because they used the latest and great film gear. They won because of, you guessed it, story."

With that said choosing the right film gear for your film is important. You need to have the right paint brush and not nesseraly the most expensive or newest paint brush to create your opus. 
I thought it would be interesting to have cinematographer Ernesto Lomeli  on the show. He's one of the most technical film geeks I know. Ernesto shares a bunch of knowledge bombs with us in this interview and discusses what film gear to get and what you really need to make your project sing!

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We making money selling your short film, feature film or web series just got a whole lot easier. Amazon.com has thrown it's hat into the Independent creators VOD ring with the launch of Amazon Video Direct.
This move is designed to go head to head with Google's YouTube for video-ad dollars. as well as going after other juggernauts like Facebook and Vimeo.
Amazon Video Direct has four distribution options for its creators.

Filmmakers can make their films available to Prime Video subscribers and receive a per-hour royalty fee

Films or Series can be sold as a subscription through the Streaming Partners Program

Films can be made available for digital rental or purchase
Films can be made available to ALL Amazon customers for free with ads, and filmmaker would receive a 55% share of the ad revenue (exactly as they do on YouTube).

Take listen for the lowdown. 

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Every once in a while we all need to get a gut check. A "gut check" is when some new situation, or in this case knowledge, that tests your belief on what it takes to achieve your goal.
I invited Sebastian Twardosz to give us that gut check and lay down some major knowledge bombs on the Indie Film Hustle Tribe. Now Sebastian has been playing the Hollywood game for close to two decades and has ranked up some major experience. Hollywood and the film business in general is a "relationship business". Here's what Sebastian said:

"Some of you will be successful and some of you will be less successful—it’s a numbers game, but regardless of the stats, you will likely fail if you don’t help each other."

Sebastian Twardosz’s first production job was from 1995-1999 for Tom Cruise and Paula Wagner’s Paramount-based company where he started as an assistant and was promoted to executive, actively participating in the making of Mission Impossible 1-2 and Without Limits.
Like many hopefuls wanting to get into the film biz, Sebastian Twardosz started as an agent's assistant in the motion picture department at ICM. He graduated from the USC School of Cinematic Arts in 1993. His short film, Silent Rain, received a Student Academy Award from the Academy of Motion Picture Arts and Sciences as well as the Student Emmy.
Sebastian co-produced the independent feature Small Town Saturday Night starring Chris Pine, and he has been an adjunct professor at both UCLA and USC Film Schools teaching about the art and business of film since 2006.
He also hosted a weekly show called The Insiders which aims to shed light on the “behind-the-scenes world of Hollywood” for aspiring filmmakers. Sebastian is currently a partner in Circus Road Films, which advises and represents emerging filmmakers. Take a listen to this eye opening interview.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How to Blaze Your Own Path in the Film Industry
Have you been banging your head against the wall trying to figure out what you need to do to break into the film industry? Me too. This episode  is dedicated to all the indie filmmakers out there trying to make a living as a filmmaker. 
After studying so many success stories of directors, writers, producers, and actors who finally broke through and made it into the exclusive party I found one common denominator among every single one of them. 


I discuss that truth and make a major announcement to the Indie Film Hustle Tribe about what I'll be doing over the next year and how it applies to the topic of "Blazing Your Own Path in the Film Industry."

If your a bit lost or just keep running into walls trying to make it as a filmmaker then this is the podcast you need to listen to. I hope you find some value in it. Good luck!
Right click here to download the MP3
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Indie Film Hustle's FULL ACCESS Membership

THIS IS MEG Launch Team


Jill Michele-Mélean
VideoBlocks (Stock Footage - IFH Discount)
IFH Online Film School - 30% OFF Discount
IFH 069: Michael Polish – How to Make Money Selling a No Budget DSLR Indie Film
For Lovers Only
FreeFilmBook.com (Your FREE Audio Book)
Six Secrets to get into Film Festivals for FREE!

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Acting & the Art of Being Yourself with Adrian Martinez
Being yourself in any situation in life is hard for many people. Actors do make a living playing other people but the art of being comfortable in your own skin is a lesson we can all learn. I invited on the show Adrian Martinez, a actor, writer, producer, and soon-to-be-director, with nearly 100 film and TV credits.


Adrian's career began as a high school track star on NBC's "Unsolved Mysteries". Some in casting have called Adrian, "the sidekick to the stars," as evidenced by his recent sidekick trifecta-- Will Smith's sidekick in Warner Bros' "Focus," , Ben Stiller's sidekick in his Fox remake of "The Secret Life of Walter Mitty," Will Ferrell's sidekick in Lionsgate's "Casa de mi Padre," to name a few.


Mr. Martinez's TV work includes over forty guest spots, including a recurring guest star in CBS' "A Gifted Man," opposite Patrick Wilson, FX's "Louie" opposite Louis CK, HBO's "Flight of the Conchords," "Sex and the City," and is recurring on Comedy Central's "Inside Amy Schumer."


Adrian is currently making his directorial debut with the film "iCreep," through his production company, Paloma Pictures.
I wanted have Adrian Martinez on the show to see if he would share some of his secret sauce for maintaining such a long and successful career...and he did. Whether your an actor, director, writer, or artist the knowledge bombs Adrian drops are massive. 
BTW, this happens to be one of the funniest episodes I've ever done. Adrian is not only generous with his knowledge but he's FUNNY AS HELL! Enjoy.

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Follow Your Passion, No Matter What!
This is a special episode of the podcast guys. I recently had a good friend of mine pass, Allan Wertheim. He was a legendary First Assistant Director and Unit Production Manager. Allan and I worked together almost 20 years ago on one of my first directing gigs. 
This is by far the most difficult project I have ever worked on and Allan was kind enough to mentor me and protect me from the siutation. He passed a few days ago at the age of 72 and my friend left it all on the field. He worked with legendary directors like Martin Scorsese and David Fincher but more importantly lived a happy life with his family. 
I wanted this episode to spotlight the fact that you can't leave with the music still inside of you. Take a listen to this special episode. I hope it inspires you a bit. 
Right click here to download the MP3
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Allan Wertheim - IMDB
Raging Bull
Se7en
Love Story
Saturday Night Fever

Action Items:
Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS.



If you like Follow Your Passion, No Matter What!, then click below:

How I Made Over $90,000 Selling my Short Film



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From Micro Budget to Million Dollar Budget Films with Christian Sesma
Many indie filmmakers dream of going from micro budget to million dollar budget films. Well my friends on this weeks episode I've got a guy who not only did exactly that but also had fun doing it. Christian Sesma is a indie film writer/director based in Palm Spring, CA. I've know Christian for probably over 10 years now and I've watched him grow from a small $15,000 horror film (On Bloody Sunday) to his latest action blood fest Vigilante Diaries starring Paul Sloan, Michael Madsen, Michael Jai White, Jason Mewes and UFC legend Quinton ‘Rampage’ Jackson. 
Take a look at the trailer below.


Vigilante Diaries will hit select theaters and be available on iTunes on June 24, 2016.

Synopsis:

Jason Mewes of CLERKS and JAY AND SILENT BOB STRIKE BACK stars as an in-your-face filmmaker known for his web videos of an urban avenger known only as ‘The Vigilante’ (Paul Sloan). But when The Vigilante terminates a creep with deep connections, it’ll trigger a live-feed bloodbath between the Armenian mob, Mexican cartels, a rogue team of Special Forces commandos, and an international black ops conspiracy that’s about to make things very personal. UFC legend Quinton ‘Rampage’ Jackson, Michael Jai White (BLACK DYNAMITE), Jaqueline Lord (MERCENARY FOR JUSTICE), WWE star Sal ‘Chavo’ Guerrero, Jr., James Russo (DJANGO UNCHAINED) and Michael Madsen (THE HATEFUL EIGHT) co-star in this explosive throwback packed with badass swagger, hardcore firepower and bone-crunching action.

I wanted to pick his brain and share his unique journey with the IFH Tribe. Enjoy this one, it's a blast!

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Why I Choose Seed & Spark.com to Crowdfund THIS IS MEG
With all the choices out there to crowdfund your film, it can get kinda crazy! Kickstarter and Indiegogo are the two Goliath's in the arena with Seed&Spark.com play David. If you know the story the two Goliaths don't fear David but this David has a hella of a punch. 
I choose Seed and Spark to crowdfund my new feature film THIS IS MEG, because of a few reasons.

They have a 75% Success Rate (2 times any other platform)
The average raise is $17K (2.5 times any other platform)
There average fee is only 3% (40% Less than anyone else)
They guarentee distribution if you hit a certain benchmark

How is this possible because they focus on one thing...FILMMAKERS. They don't crowdfund for the next transforming coffeemaking pen. Seed and Spark is all about indie filmmakers and creating independence for film artists. Take a listen to this episodes and find out how we are putting our crowdfunding campaign together for THIS IS MEG. 
When you're done listening to the episode take a look at the remarkable FREE Crowdfunding Course created by Seed & Spark to entertain, educate and make you a truly "independent" filmmaker. 

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Film Crowdfunding Campaign
So today is the day. The THIS IS MEG Film Crowdfunding Campaign is LIVE! Click here to check it out: Down the Filmmaking Rabbit Hole. I've been working for months on the campaign and am very proud of what I and the team has done. So below I wanted to share the Top ten tip I have learned from the many experts, guest and successful campaigns I've reviewed in prepping for my launch. 
I'll be going in greater detail on all these topics in the podcast so definitly take a listen: Top 10 Tips to Launch a Film Crowdfunding Campaign

Top 10 Tips to Launch a Film Crowdfunding Campaign
Assemble a Team Ahead of Time: You are not an island! You need a group of amazing people who are willing to help you on this journey. Check out our Launch Team for THIS IS MEG - Click here
30 day campaigns works best: Of all the film campaigns that met their goals, 32.71% of them ran their campaigns for 30-39 days, while only 13.87% of successful campaigns ran for 60 days.
Keep your campaign page updated: On average, successful film campaigns post 5 updates. Updates can include anything from press mentions, new incentives, celebrity endorsements, events, – anything that you think your community would be interested in. After all, your contributors are giving their money to help bring your film to the screen, so naturally they’ll be interested in any updates you provide. Continually updating your campaign page is one of the best ways to keep your community and fans involved in the process.
Estimate Costs Carefully: So many filmmakers just pull a budget out of their butts. Breakdown what you really need for your entire filmmaking journey.
Study Successes and Failures: I studied sooooooo many campaigns before we launched. I took courses (see free crowdfunding campain below) and analized both successes and failures.
Give Fans An Inside Look: People want to be part of the process. Bring them into your process, your filmmaking craftmanship.
Add New Perks through the Campaign: One unique aspect of film campaigns is that filmmakers have an huge range of creativity for your incentives. From signed memorbilia to meet-and-greets to set visits, you have lots of ways to incentivize your backers to help you reach your goal.
Include affordable perks: Don't make the incentives for the private sky boxes, create incentives for the bleachers too. Make the journey accessable to all who want to join the trip.
Include a pitch video: For God's sake make a good pitch video. I go into a ton of detail on this in the podcast. Check out our pitch video and let us know what you think:

Build an Audience & Networking: I can not stress the importance of building and audience before you launch. Not only that but also know where the audience for your film hangs out online so you can reach them.



Right click here to download the MP3
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

INDIE FILM SYNDICATE Membership Community
THIS IS MEG Crowdfunding Campaign
Audio-Technica ATR2100-USB Cardioid Dynamic USB/XLR Microphone
TASCAM DR-40 4-Track Por

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

So I entitled this podcast "How to Work with a Music Composer" because it is a mystery to many filmmakers. As visual storytellers we focus so much energy and effort to the moving image. For many of us music is an after thought.
What would Jaws, Indiana Jones or Star Wars be without the musical score? With technology it has become more and more affordable to have a beautiful score added to your indie film. A computer can't do it alone, you still need a maestro to compose that music for you.
A good score can add a great deal of production value to your little indie film. This is why I invited composer Cris Velasco on the show. Cris and I have worked on many projects together. His music has definitely elevated my projects.
Here's some info on the man:
Cris Velasco is a multiple award-winning composer of epic orchestral, dark experimental and modern hybrid music scores for video games, film and television. After graduating from UCLA with a degree in Music Composition, Velasco pursued his passion to write music for visual media; his first major release was composing for Sony’s blockbuster God of War. 
A prolific and versatile composer, Velasco has become one of the most sought-after composers in interactive entertainment, scoring many major titles including Company of Heroes 2, Mass Effect 3, Borderlands 2, ZombiU, Warhammer 40,000: Space Marine, God of War 3, Tron: Evolution, Borderlands, God of War 2, Darksiders, Clive Barker’s Jericho, and many more.
I wanted Cris to go into his creative process and how he likes to work with filmmakers and creatives. Plus you get a bonus "Star Wars" themed music score he created on the Warner Brothers backlot.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

11 Golden Rules for Filmmakers on Social Media
With social media taking over the world it is more necessary than ever to use it to get the word out on yourself, you film project or your production company. Most indie filmmakers have no idea on how to build an audience or how to use social media to promote and engage with that audience.
In this podcast I go into great detail on each of the 11 Golden Rules for Filmmakers on Social Media.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How Filmmakers & Artists Should Deal with Haters!
Haters, a problem that artists, filmmakers or anybody who puts themselves out there have to deal with. I know of many filmmakers who are crippled by what other people think or say about them. The fact is that you are going to create anything; a poem, writer a novel, make a movie, write a song, cook a meal or build a house, there will be people who have opinions. 
Now opinions are fine. As they say ever has an opinion and the internet has given everyone with an opinion a voice. Now there is constructive, mature opinions and there are straight up haters. People who want to bring you down for a myriad of reasons. 
I decide to shine a bit of light on this topic because it is so important on your filmmaking journey to be free of the good opinions of others, as the late Wayne Dyer used to say. You can not allow other peoples opinions or thoughts bring you down or stop your forward momentum when making art of any kind. 
Take a listen to my experience with haters I've dealt with over the years. I hope it inspires you to continue creating regardless of the good opinion of others. 



"Don't let compliments get to your head and don't let their criticism get to your heart." - Anoyomous

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Why You Don't Need a Screenplay to Make an Amazing Film


As indie filmmakers we throw a lot of obstacles on our own path to creating a feature or short film. No obstacle is larger then the almighty screenplay. How many screenwriters and filmmakers do you know that have been working on the movie script for 3, 5, or 7 years? They keep chipping at it in hopes of cracking that nut or it gives them an excuse for not actually making a feature film.
I was no different. One of the biggest things that slowed, if not stopped my filmmaking journey was "the screenplay." I decided to see if there was a different way to approach making a movie with my first feature film This is Meg.
In doing my research I came to  realize that in the last few years, some of my favorite films happen to be (almost) entirely improvised. No structured screenplay. Some were huge tent pole studio movies, Oscar winners (Ironically for best screenplay) and small indie films. It certainly seemed to be a more prolific style among independent filmmakers and I find that it can mean success when they cast the right actors. Especially in the "Mumblecore" and "Dogma 95" indie film movements.
Iron Man had no screenplay?
My favorite "lack of screenplay" story was the Marvel Studios tent-pole Iron Man. You heard me correctly. The film that launched the Marvel Cinematic Universe and that show the word what a great leading  Robert Downey Jr could be. It remains one of the most enjoyable adaptations of a Marvel comic book to date.


via Marvel Studios

Take a listen to what Jeff Bridges revealed in a recent interview.

"They had no script, man! They had an outline. We would show up for big scenes every day and we wouldn't know what we were going to say. We would have to go into our trailer and work on this scene and call up writers on the phone, 'You got any ideas?' Meanwhile the crew is tapping their foot on the stage waiting for us to come on."

Although a story and structure was firmly in place, the dialogue wasn't - leading to much improvisation on set, which accounts for the film's energetic, sparky atmosphere.

"I said, ‘Oh, what we're doing here, we're making a $200 million student film. We're all just fuckin' around! We're playin'. Oh, great!. That took all the pressure off. Oh, just jam, man, just play. And it turned out great!" Bridges recalled.

Here is a list of film I mention and discuss in detail in the podcast:

John Cassavetes - Shadows
Mike Leigh - Vera Drake
David O. Russell - American Hustle
Lynn Shelton - Your Sister's Sister
Jon Favreau - Iron Man
Derek Cianfrance -

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What do you get when you add a stand up comedian, a fearless actress and a great personality? You get today's guest Jenica Bergere. This is one of the reason we cast here in my debut feature film This is Meg as the bitchy nut job Ruby. 

Jenica Bergere began her career as a stand up comedienne becoming a paid regular at The Comedy Store as well as the Improv when she was barely old enough to vote. Jenica credits Russell Simmons for discovering and representing her as the only “crazy white girl” on his Def Jam slate. 
Since then she has continued to hone her craft becoming an accomplished writer, actress, comedienne and now award winning director with her feature film Come Simi for which Jenica co-wrote the screenplay with Doc Pedrolie (2010 Jack Nicholson Award for Screenwriting). Filmed ‘guerilla style’ in only 6 days, Bergere brought the film in for $10,000 and sites being a micro budget filmmaker as something she actually enjoyed. 
Distributors have called the film “brave”, a word that also defines Jenica Bergere as a director. Willing to take risks and do whatever it takes to get the desired results, Jenica brought her camera crew into the hospital room to film her labor and delivery, ensuring the shots were captured as she envisioned, directing everyone all the whilst.
Take a look at the trailer for Jenica's Micro Budget Film Come Simi:

Get ready to laugh out load in this amazing interview with Jenica Bergere.

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You knew it was bound to happen. Well the time is here. Please welcome the talented Jill-Michele Meleán to the Indie Film Hustle Tribe. Jill is the star of my debut feature film "This is Meg". She is one of the most talented actors/comedian I've ever worked with and we have worked on a ton of projects of the years. 
Jill-Michele Meleán, “Jilly” was born and raised in Miami, Florida (aka Cuba). She declared at a young age that she wanted to be like Bette Davis, Joan Crawford and Benny Hill. Jilly started in Theatre and toured with The Coconut Grove Playhouse (which is the Broadway of Miami). In 2000, she moved to Los Angeles and needed to be on stage.


She took her natural comedic timing to the Standup Stage, headlining across the country while continuing her Acting career. After many years of hard work, she’s made a name for herself in the Comedy Television world with memorable performances on FOX’s “MadTV” and Comedy Central’s “Reno 911”. However, her first love is her dramatic acting career. As she continues her theatrical Film and Television career, she’ll never stop making people laugh.
Which brings us to This is Meg. Take a listen and get a window into how we are creating this "micro budget" film. 
LINKS AND RESOURCES MENTIONED IN THIS EPISODE:

THIS IS MEG Crowdfunding Campaign
Jill-Michele Meleán - Official Site
Jill-Michele Meleán - IMDB


Jill-Michele Meleán - Facebook & Twitter


Indie Film Syndicate - Filmmaker Community


SaveSave

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I'm truly PISSED OFF guys and am tired of seeing my fellow indie filmmakers and artist struggle to make a living doing what they love. I decided to put together a lists of steps that every indie filmmaker needs to do in order to thrive in the film business.
Since this website is call INDIE FILM HUSTLE the terminology I'll be using will be aimed at filmmaking or screenwriting but all of these concepts can be applied to any art form.

PLEASE NOTE: If you were to ever listen to a podcast of mine, this is the one. I'll be laying out the steps in the article but I go MUCH DEEPER into each one on the podcast. 

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We I have a MAJOR treat for the tribe this week. I have no other than Jim Uhls, the master screenwriter behind David Fincher's "Fight Club", one of the greatest films in my generation, in my humble option.
When Chuck Palahniuk's Fight Club was making the rounds in Hollywood, it was a tough sale to be adapted for the screen. But then Brad Pitt got involved; add David Fincher and Ed Norton, throw Jim Uhls into the mix and you've got a modern classic.

Jim’s sceenwriting credits include of course the modern classic “Fight Club” the feature-film "Jumper" the NBC television film "Semper Fi" and the SyFy miniseries "Spin".
In this remarkable discussion Jim Uhls breaks the first rule of Fight Club: He talks about it, working with David Fincher, why he hates outlines and why you should interview your characters. Step inside the mind of the man who figured out how to conquer Hollywood as he lays down knowledge bomb after knowledge bomb in this eye opening interview.
Towards the end of the interview Jim gives easily the GREATEST ADVICE ON HOW TO BECOME A WORKING SCREENWRITER I'VE EVER HEARD! This podcast is not to be missed.

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Life After Winning Sundance with Diane Bell
I always talk about not counting on the "lottery ticket" mentality that so many filmmakers today count on. Winning Sundance is not a distribution plan. Well I was involved in a project, written and directed by Diane Bell, that did just that. It won not one but two awards at Sundance. She didn't count on winning, hell she didn't think in her wildest dreams that she would even be accepted. Here's the story.
In 2010, 16 feature films were selected out of 1,058 submissions to be screened in the US Dramatic Competition at the Sundance Film Festival.  Diane Bell's OBSELIDIA was one of them.  It was made for less than $140,000, it had no movie stars in it, and none of the cast or crew had connections to Sundance.  And yet it was picked out of the slush pile, and selected to premier on this world stage, alongside movies that had cost 100 times as much with big name movie stars and recognized directors.
OBSELIDIA, premiered in the US Dramatic Competition at the Sundance Film Festival 2010, where it won the Alfred P. Sloan Award and the award for Excellence in Cinematography. It was nominated for two Independent Spirit Awards 2011, including one for Best First Screenplay. It won acclaim at festivals around the world, including being named as Best of Fest at the Edinburgh Film Festival, Best Narrative Feature at Ashland Independent Film Festival, and winning the Youth Jury Prize for Best Film at the Valladolid Festival, Spain.
If you ever wanted to know what it was like to be accepted and win awards at the Sundance Film Festival sit back and enjoy on conversation with Diane Bell.

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This podcast episode comes straight from the heart. Diversity in the film industry is a problem. The numbers do not lie.

Original Source: Fusion.net

Original Source: GirlTalkHQ.com

The film business needs to have many points of views and not just a select few. The more points of views you have, the better the industry as a how will be. 
Filmmakers can not use their gender or race as an excuse for "not making it". The diversity problem in Hollywood is SLOWLY getting better. Ava DuVernay, the director of Selma, has become the first African-American Female director to helm a major studio film with a $100 million dollar budget. (Source: Business Insider)

Original Source: The Hollywood Reporter and The Ralph J. Bunche Center for African American Studies
Their are many examples of the industry changing. Robert Rodriguez, Guillermo del Toro, Tyler Perry, Spike Lee, Alejandro González Iñárritu, Ava DuVernay, Gale Anne Hurd, Kathryn Bigelow, Sofia Coppola, and many more have cracked the diversity wall. 

Original Source: Fusion
Now that being said, I'm not saying it has been easy for the filmmakers I've listed. It was DAMN HARD! Things are changing but very slowly. I've never allowed being latino stop me from creating my own opportunities. Indie Filmmakers have to create their own opportunities and stop waiting around for "Hollywood" to give it to them. I hope this episode inspires filmmakers to go out and make it happen...no matter what! 
Keep hustlin' my friends!

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What is this guy talking about? No money = better filmmaker? He must be nuts. We'll I'll have to disagree with you. As I  am going through my adventure on the making of my first feature film THIS IS MEG, I have discovered that is the truth.  Having less resources has made me a better filmmaker. 
When you have no money and limited resources you discover new and creative ways to solve problems. The creative ways end up on the screen and that is where innovation comes from. Doing something people say is nuts. 


Credit: QuoteAddicts





"No one can stop you from doing exactly what you want to do. If you can accept that the cavalry won't come, and if you can be the cavalry, it gives you a chance to be happy." - Mark Duplass

When I announced I was going to direct This is Meg with a micro budget I can't tell you how many people said I was nuts. BTW, I love it when people do that, it lights my fire. I still think most of the cast and crew still don't know how we're going to pull this off. 
In this podcast I go over the techinques I used to not only get the ball rolling but also get the film shot and edited. Enjoy!

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How to Brand, Market and Build an Audience Using Social Media & Marketing Hustle
So I had the plesure of speaking at the HollyShorts! Film Festival at a "fireside chat" with my brotha from another mutha RB Blotto from Stage32.com. We sat down and discussed How to Brand, Market and Build an Audience Using Social Media & Marketing Hustle. 
I had a ball and as promised I recorded the evening for those of you who couldn't make it. Check it out below:
You’ve got an amazing script, now what? The first step is to identify your audience and create a brand for yourself that you can leverage when crowdfunding or selling your film. Once your film is done, the next step is marketing and promotion. Join us for a fireside chat with Writer/Director and Indie Film Hustle founder, Alex Ferrari, and RB Blotto, Stage32.com founder, as they offer best practices on building an audience, creating a brand, marketing yourself and your film, and finally, getting the word out via social media, which is crucial to your success.
Sit back and enjoy this knowledge bomb filled episode. 

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From Dusk Till Dawn to Nickelodeon with Director Joe Menendez
This week on the show we have the very talented director Joe Menendez. Joe is an award-winning filmmaker of both a successful feature film director and a prolific television director/producer as well -- having moved seamlessly between both mediums his entire career. Joe Menendez has directed over 95 hours of television (both single and multi-camera), written a handful of teleplays, produced several TV series and films, and has directed eight feature films and TV movies so far. He is a multi-genre veteran of drama, action, comedy, family entertainment, horror and rom-com. His numerous and varied credits show that he is a skilled craftsman and an accomplished, versatile storyteller.
For this reason I had to have him on the show. Joe Menendez is currently in post-production on Nickelodeon's  LEGENDS OF THE HIDDEN TEMPLE, an action-adventure TV movie he directed for Nickelodeon, based on the popular game show of the same name, from the 1990s.
His last feature, the action/comedy, LADRONES (THIEVES), was released by Pantelion Films October 9th, 2015, and received a CinemaScore of "A". LADRONES is the sequel to his 2007 feature film LADRON QUE ROBA A LADRON (TO ROB A THIEF), which opened at the time to a record-grossing opening weekend at the box-office for a Spanish-language film in the U.S.
Joe Menendez has directed multiple episodes of the one-hour drama FROM DUSK TILL DAWN: The Series for Robert Rodriguez and his El Rey Network, multiples of the new Amazon Series JUST ADD MAGIC and the Prequel Series plus the "uncensored" episodes for the 2nd season of HULU's hit drama series EAST LOS HIGH.
I also wanted to have him on the show to discuss what's it like working with a filmmaking legend like Robert Rodriguez. He did not disappoint. His stories are AMAZING! Get ready and enjoy my conversation with Joe Menendez.
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Joe Menendez - Official Site
Joe Menendez - IMDB
From Dusk Till Dawn: The Series
Legends of the Hidden Temple
Ladrones

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KILLER RESOURCES!!!

INDIE FILM SYNDICATE Filmmaking Community
IFH's Online Film School
Six Secrets to get into Film Festivals for FREE!

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How to Break-Through Your Fear & Shoot Your First Feature Film
Fear, the one thing that stops most indie filmmakers from moving forward and following their dreams. Fear of shooting their fist feature film, writing that screenplay, making that short film or just taking the first few steps towards their goals.
Fear has been a strange bedfellow of mine throughout my career. It has slowed and out right stopped my progress. It has taken many years of failures to final realize I have nothing to fear. As they say:

"We stopped checking for monsters under the bed when we realized they were inside of us."

Breaking through the Fear
I finally decided to "feel the fear and do it anyways". Directing a full blown feature film always seemed like this huge, monstrous mountain I had to climb. It was like going to hike Mt. Everest when I never even climb a mountain before.
Then I figured out that that a feature film didn't have to be a "huge, monstrous mountain" and that many filmmakers started off shooting smaller films before climbing Mt. Everest. Chris Nolan shot The Following before he made Memento and then the The Dark Knight Trilogy.
In that spirit I ventured off into uncharted territory with the making of my first feature film This is Meg. Below is the story on how I got that film started.
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

This is Meg
IFH 075: What Does It Really Take to Make in Hollywood with Sebastian Twardosz
Sebastian Twardosz - Email
Bill and Ted's Excellent Adventure

Steven Spielberg's 1941
Robert Rodriguez Mexico Trilogy
Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player


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Aaron Sorkin Master Class
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KILLER RESOURCES!!!

INDIE FILM SYNDICATE Film

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Gravitas Ventures: Confessions of an Indie Film Distributor
If you have ever given any thought to the process of distributing your feature film, you know it can be nutz! The film distribution landscape has changed, and changed again as I'm writing this article.
Finding a good and reputable film distributor in today's world is hard to say the least. So I wanted to bring onto the show a film distributor that has a very good reputation for working with filmmakers, being transparent and honest. Enter Michael Murphy, President of Gravitas Ventures.
Indie Film Distribution from the Ground Up
Gravitas Ventures is a global entertainment distribution operation with the ability to connect filmmakers and producers with consumers through hundreds of media platforms throughout the world.
Gravitas was one of the first companies to develop a global network of digital media platforms as partners and now has relationships with many of the key providers of cable video on demand (“VOD”), subscription video on demand, electronic sell through and electronic rental platforms around the world. CEO Nolan Gallagher founded Gravitas Ventures in 2006 after helping shape VOD strategies for the largest North American cable operator (Comcast), and a major studio (Warner Bros). With a simple mission to deliver ideas to the digital market, Nolan recognized that Gravitas could build a bridge between filmmakers and consumer friendly technology offerings.
Soon after Gravitas’ inception, Nolan and Gravitas’ President and co-owner Michael Murphy began attending worldwide film festivals in search of thought-provoking features and documentaries while establishing distribution relationships with worldwide cable, satellite, television and internet based partners.
While not abandoning its digital roots, Gravitas Ventures is now one of the largest all rights distributors in the world, with the ability to distribute films into theaters and brick and mortar retailers. The company releases over 400 new films annually and is a scalable partner to new media outlets interested in licensing from our library of thousands of titles. As technology advances and new distribution opportunities arise, Gravitas Ventures continues to stay at the forefront, providing exceptional film product to audiences worldwide.
So as you can see Michael knows is stuff. I wanted to grill him on what it takes to get an indie film distributed to the world. Enjoy my interview with Michael Murphy from Gravitas Ventures.

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Can you imagine having a front row seat to the start of the filmmaking careers of Will Smith, Bruce Willis and Michael Bay? Well this week's guest Screenwriter Doug Richardson did just that. In 1989 20th Century Fox hired Doug to adapt Walter Wager’s novel 58 Minutes into the first sequel to the hit franchise Die Hard. In 1990, it was released as Die Hard 2, Die Harder.
Around the same period, Doug and his one-time writing partner, Rick Jaffa, garnered national attention when their spec screenplay, Hellbent…and Back was the first in Hollywood to sell for a million dollars. Doug has since written and produced feature films including the box office smash Bad Boys (1995), Money Train (1995), and Hostage (2005).
In addition to writing for the screen and print, Doug posts a weekly blog on his website, dougrichardson.com, where he shares personal anecdotes and insight from his thirty-year showbiz career. The first collection of his blogs, The Smoking Gun: True Tales from Hollywood’s Screenwriting Trenches was published in 2015.
I had a ball chatting with Doug and his stories from the set had been mesmerized. He dropped some major knowledge bombs in this interview. Enjoy!

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When I began my filmmaking journey with my first feature film, This is Meg, I had no idea what camera I'd be shooting with. I had access to both RED Cinema and Arri Alexa Cameras for free if I wanted them but I choose against using them on this film for the following reasons:

The infrastructure need to make those camera work was complicated and expensive (even if you are getting the camera bodies for free)
I wouldn't have the freedom to shoot whenever I had the cast available. (we shot over 6 weeks)
The "footprint" of those cameras do not lend themselves to run and gun guerrilla filmmaking.
The Post Production workflow would be costly and drives are expensive.
Production Insurance would be needed and that's pricey.

So I looked around and settled on the BlackMagic Cinema Camera.

"But Alex you are nutz! You could've shot on a RED or ALEXA and you choose a BlackMagic Cinema Camera?"
Yes I did. For a few reasons:

I could own the camera, play with it, test and experiment.
No production insurance.
Small footprint for those "guerrilla filmmaking" moment out in the streets.
Amazing post production workflow (I edited and finish This is Meg on the DaVinci Resolve, more on that in the podcast)
I could affordably pimp out the rig and customize it for my shooting needs.

This is Meg is a small character driven indie film, shooting with RED or ALEXA would've been overkill.


Shooting with the BMCC
Now I've been a colorist for over 10 years and the image quality of RED or ALEXA is superior to the BlackMagic Cinema Camera but you need to choose the right tool for the project. The BMCC gave me the freedom that the other couldn't and the BlackMagic Cinema Camera is BY FAR the best bang for your buck. Speaking as a colorist and the director of photography of the film, the image quality is stellar. You just need to understand the camera's strengths and weakness.
Here are some tips when shooting with the BlackMagic Cinema Camera 2.5k.

The camera need a ton of light.
Make sure you shoot at 400 ISO unless you are shooting nights. Try to always shot 400 ISO. The BMCC Image will like it better.
Record with a minimum 240gig Card.

SHOOT RAW, not ProRes 422 HQ!

I also decided to shoot with the BlackMagic Cinema Camera because of its amazing RAW Cinema DNG file it produces. I shot with the BlackMagic Cinema Camera 2.5K not the 4k version. The 4k would've been nice but the cost in media and hard drives out weighted the extra pixel. I also knew I'd be mastering in 1080p and blowing up to 2k for the DCP deliverable.
You can shoot ProRes 422 HQ but I'd suggest shooting RAW because if you don't light the scene perfectly having that RAW Cinema DNG file can really get you out of a pickle...trust me!
I go into great detail on how I put this rig together in this weeks podcast. I share tips, tricks and real world stories of what worked and what didn't. I also talk about the post production workflow I went through editing in DaVinci Resolve.



For links to all the gear spoken about goto: https://www.indiefilmhustle.com/blackmagic-cinema-camera/

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How to Write a Screenplay with FAST with Jeff Bollow
Have you ever wanted to learn how to write a screenplay fast? I know I do. This is why I invited on the show award-winning producer/director, best-selling author, film festival organizer and public speaker, Jeff Bollow.
He is the author of Writing FAST: How to Write Anything with Lightning Speed. Jeff Bollow began as an actor at age 12 in his native Los Angeles (credits include Don't Tell Mom the Babysitter's Dead and TV's Columbo) before working nearly every job in production, from camera to sound to lighting — and including jobs in development, post-production and distribution.
Jeff has worked on feature films, TV series, commercials, music videos, radio, and corporate productions for companies such as Universal, Castle Rock, Propaganda Films, DNA and the Oxygen Network.
After migrating to New Zealand, where he directed television for TV3 and co-founded the Big Mountain Short Film Festival, he moved to Australia, where he launched Embryo Films. Through his company, Jeff has reviewed over 20,000 project submissions, and has edited, assessed and/or mentored over 350 projects. He has script doctored in Singapore, Australia, NZ and the US; and has conducted over 80 live weekend workshops to over 1200 writers in 9 cities in 5 countries, with a unanimous "recommend" approval rating.

His students have been optioned, produced and won (and placed) in competitions worldwide. He designed FAST Screenplay in 2004, and began officially building it in November 2009. It was finally completed in July 2016, nearly 7 years later. Alongside it, he created the FASTscreenplay YouTube Channel, which now includes over 30 detailed and insightful free videos to encourage writers and screenwriters around the world.
In May 2015, Jeff Bollow delivered his first TED Talk, "Expand Your Imagination... Exponentially" (see video below) at TEDxDocklands in Melbourne, Australia, to prepare for the next phase of the larger plan. Jeff's aim is build an independent film studio that inspires creativity worldwide, to help prepare humanity for the dramatic changes our future holds. When he's not busy helping writers with FAST Screenplay, he is working on a new book, developing a television series, and planning two feature film projects.
I've added below Jeff Bollow's TEDTalk and a series of amazing video on screenwriting. Enjoy!
LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Jeff Bollow - Official Site
Jeff Bollow - IMDB
Fast Screenplay
Writing FAST: How to Write Anything with Lightning Speed
Big Mountain Short Film Festival
Screenplay.com.au

SPONSORS

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Werner Herzog Master Class
Aaron Sorkin Master Class
FreeFilmBook.com (Download Your FREE Filmmaking Audio Book)

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INDIE FILM SYNDICATE Filmmaking Community

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Well, the first IFH Podcast episode went live September 2015. That’s a short time to be able to produce 100 podcast episodes, but what can I say I'm a hustler = )
I’m so glad I finally got around to launch Indie Film Hustle, because the podcast has done wonders for my brand, my career and my life. The results were far beyond what I had ever imagined.
It allows me to reach more people than I could ever do with just my blog alone, and at the same time create a much deeper connection with them too. Beyond that, it has opened up doors to my filmmaking career, keynote speaking opportunities, potential book deals and more.
THANK YOU TRIBE!
Without you, the Indie Film Hustle Tribe, the IFH Podcast would had never reached episode 100 or become the #1 filmmaking podcast on iTunes! I owe you guys so much, and that's why I'm extremely excited for the next 100 episodes of this podcast. Your support means the world to me, and I appreciate each and every one of you!
If you enjoyed this episode, or any of the other of the 99 episodes of the podcast, and you have not left a rating or review yet on iTunes, I would really appreciate an honest review and rating from you. It’s one of the most important parts of the ranking in the iTunes algorithm, but more than that, it’ll show future indie filmmakers that this is (or is not) worth their time.
To quickly leave a review, open up iTunes and search for Indie Film Hustle Podcast and then leave a rating and review as shown below. You can do this on your mobile device as well, and even if you’re not subscribed, and even if you listen on another platform – this is where I’d love your review.

This Weeks Special Guest - Aaron Kaufman & Brian Levin
On this special episode of the show I have a chat with Aaron Kaufman. Not only was he Robert Rodriguez's producer on films like Sin City: A Dame to Kill For, Machete and Machete Kills but he also directed a film called Urge starring James Bond Legend Pierce Bronson.

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How to Record Audio for Your Indie Film on the CHEAP!
I was lost when it came time to record audio for my film. So since my podcast on How to Build a Pimp'd Out BlackMagic Cinema Camera Rig on the CHEAP! was such a hit with the tribe I decide to put a list of the gear I used to record audio on This is Meg.
I go into great detail on each piece of gear, how I used it and what worked and didn't work. The biggest tip I can give you is no matter how inexpensive the mic you have the key is to get that mic as close to the subject as humanly possible. 
The audio I recorded on This is Meg came out surprisingly great! Since I've never had the chance to record audio for any of my films this was a first. What saved my ass was taking an online course the explained everything I needed to know about the art of how to record audio on set and location. 
It's called Sound for Indie Film: Recording Audio Like a Pro. I not kidding you, this course was a life saver for me. I HIGHLY RECOMMEND it to anyone even thinking of recording their own audio for a film. I also recommend it to any director or producer as well so they can get a better understanding of what the sound man is doing. 

Below is a list of all the gear I used, tested and recorded with on my film. 

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What if I told you you could production design an entire house with for a hundred bucks. Can't believe it? How about if I throw in labor, delivery, setup and guys will come and pickup all the furniture when you're done? I didn't believe either until I did it. 
In this episode I discuss the little loop hole/trick I used to furnish an entire house for my film BROKEN. You can get thousands of dollars worth of high end furniture, appliances, computers, televisions, lamps, tables, dining sets, bedroom sets and all sorts of accessories for pennies on the dollar. 
Now this solution is not for every film. If you are doing a period piece or drug den this ain't for you. This technique will work for contemporary decor and it works great. 
Are you drooling yet? Want to know the secret? Sometimes the simplest ideas are the most powerful ones. Take a listen to this short episode and find out. You won't regret it. 






LINKS AND RESOURCES MENTIONED IN THIS EPISODE

This is Meg
Alex Ferrari's Films on Amazon Video Direct (WATCH FOR FREE on Amazon Prime)

SPONSORS

Werner Herzog Master Class
Aaron Sorkin Master Class
FreeFilmBook.com (Download Your FREE Filmmaking Audio Book)

KILLER RESOURCES!!!

INDIE FILM SYNDICATE Filmmaking Community
IFH's Online Film School
Six Secrets to get into Film Festivals for FREE!

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How a Camera and Hustle Created a $30 Million Empire with Joel Holland
Get ready to be inspired. I want to bring this week's guest onto the show for a while now. Joel Holland is the founder and CEO of VideoBlocks, the first subscription-based provider of stock video and audio, with over 100,000 customers in the television and video production industry, from NBC to MTV to pro-sumers and hobbyists looking to enhance their video projects and productions. There's a lot indie filmmakers can learn from Joel. 


In 2013, VideoBlocks was ranked the 32nd fastest growing technology company in the US/Canada, and the 2nd fastest growing technology company in the DC region by Deloitte for the Fast500, for achieving 7,000% revenue growth over the past 5 years.


Photo Credit: VideoBlocks.com

In 2012, VideoBlocks was named the #4 Fastest Growing Media Company by Inc. Magazine, and made the prestigious Inc. 500 list. 


For his work with VideoBlocks, Joel has been named one of the "Top 25 Entrepreneurs Under 25" by BusinessWeek Magazine, "Young Entrepreneur of the Year" by the United States Small Business Administration, and "Entrepreneur of the Year" for the Greater Washington DC Region by Ernst & Young.


In 2013, Joel was recognized on the Inc. "30 Under 30" list: He is the definition of the word "Hustle." Sit back and enjoy my conversation with Joel Holland.

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'Blue Jay' & Directing Mark Duplass with Alex Lehmann
On today's episode I have the pleasure of interviewing first-time feature film director Alex Lehmann. And his first film is a hell of way to launch a directing career. His new film is called Blue Jay starring Mark Duplass (who also wrote and produced) and Sarah Paulson (recent Emmy Winner for The People vs OJ Simpson).
Blue Jay just had it's world premiere at the Toronto International Film Festival to rave reviews:

"If the hour and a half spent inside this story seems fleeting, it's only because sometimes that's the best you can ask of a good nostalgia trip." - IndieWire




"Mark Duplass and Sarah Paulson have extraordinary chemistry, painting a cumulative portrait of the fragility and rareness of being truly in sync with a partner." - Slate Magazine


Meeting by chance when they return to their tiny California hometown, two former high-school sweethearts (Mark Duplass and Sarah Paulson) reflect on their shared past through the lens of their differently dissatisfied presents, in this tender, wise and affecting chamber drama from first-time feature director Alex Lehmann.



Check out my conversation with Alex Lehmann and if you listen to until the end he promises to give out Mark Duplass' personal cell number. Apparently this is how Mark likes to be pitched. Enjoy!

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