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In this episode, I'm joined once again by filmmaker Joe Burke, whose micro-budget feature Burt was shot in seven days for $7,000 with a three-person crew. When Joe was last on the show, Burt was just premiering at Cinequest. Since then, the film has gone on a remarkable run that most indie filmmakers dream of. But before finding all of its success, the film had a tough year. Including 28 festival rejections back to back, despite David Gordon Green coming on as executive producer. Joe talks candidly about this experience and how close he came to walking away from the industry. Ultimately though, the tide turned for Burt after premiering at Cinequest, and winning awards at Phoenix Film Festival, and the Florida Film Festival. Joe then landed an LA Times feature, booked revenue-share runs at independent theaters across the country, and ended with four sold-out screenings at the Palm Springs International Film Festival. Topics covered include:Making Burt in 7 days for $7,000 with a three-person crewGetting David Gordon Green on board as executive producer28 festival rejections over 14 months, and what kept Joe goingHow the mid-tier festival landscape has changedWinning at Cinequest, Phoenix Film Festival, and Florida Film FestivalPitching critic Katie Walsh and landing an LA Times featureRenting the Fine Arts Theatre and selling out a self-booked premiereBooking 50/50 revenue-share runs with independent theaters nationwideGetting 25 festival fee waivers by leveraging wins in follow-up emailsOpening night at Anchorage and four sold-out screenings at Palm SpringsSelf-distributing through Filmhub and owning the film outrightWhy Joe left TV directing, his reps, and the DGA path behindMuch More!Links from the show: Burt - Official Website Joe Burke on Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by Jesse Korman, director of Yellow Eyes, the possession horror feature now streaming on Screambox. Jesse has produced over 30 films, directed a long list of music videos, and fronts the band The Number Twelve Looks Like You. Yellow Eyes is his feature directorial debut, made as part of Joe Swanberg's five-film horror slate shot back to back in Chicago, all on the same budget.Jesse got the offer right before leaving on tour, which left him about six weeks to build a script from scratch with writer Mickey Solis (often over the phone between soundchecks) and get to set. Instead of writing first and budgeting later, they reverse engineered the story from the money and the schedule: one location, minimal cast, and spending concentrated on the moments that would really land on screen. The result was a 12-day shoot that never fell behind schedule. Throughout the episode we dig into the prep that made that possible, from shot listing and timing every scene with his DP to pre-rigging the entire house so every room was camera ready the moment they walked in.   Topics covered include: How Jesse landed a spot on Joe Swanberg's five-film Chicago horror slateWriting and prepping a feature in six weeks while on tourWhy a crew rolling from one film to the next becomes a well-oiled machineLetting the budget and schedule dictate the script, not the other way aroundShot listing and timing every scene to never fall behindPre-rigging a single location so every room is always litLighting through windows and a last-minute day-for-night pivotWhy a two-person art department moves faster than a 50-person crewWhat a $10M set taught him about wasted time and moneyCasting non-SAG actors and why the union label doesn't matter to audiencesLanding distribution through Cineverse and ScreamboxWhat Joe Swanberg told him on the last night of the shootMuch More!Links from the show: Watch Yellow Eyes on Screambox Jesse Korman on Instagram The Number Twelve Looks Like You on Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by filmmaker Joe Burke, back on the show to talk about his micro-budget feature Burt.Over the past year, Burt won Best Comedy Feature at Cinequest, Best Picture and Best Ensemble at Phoenix, was the opening night film at Anchorage, and landed a slot at Palm Springs International. It also got a full feature in the LA Times, was taken on a year-long theatrical tour, and is now being self distributed. Burt was shot in seven days for $7,000 with a three person crew, in black and white, no stars, built around a real street musician with Parkinson's. It was finished at the end of 2023 and then rejected by 28 festivals over roughly 14 months, including places where David Gordon Green, the film's executive producer, personally emailed on its behalf and got nothing back. Throughout the episode, Joe is candid about how close he came to leaving LA, and about the moment he stopped waiting on gatekeepers and went around them - ultimately finding success on his own terms. Topics covered include: Making a black and white feature in seven days for $7,000 with a three person crew28 rejections in 14 months, and what that does to youWhy an executive producer like David Gordon Green still guarantees nothingRenting a 400-seat theater instead of taking a festival slotHow the LA Times story came together, and what it unlockedCold emailing theaters for 50/50 rev share with zero upfront costCustom trailers, posters, and flyers cut for each individual venue50 waiver emails, 25 yeses, and why follow-up is the whole gameWhat the run actually returned: audience and credibility, not repsGetting into the DGA, then leaving his agent and manager at 30Owning the film forever instead of selling itMuch More!Links from the show: Burt - Official Site Joe Burke on Instagram Joe Burke - Official Site Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by filmmaker Pete Ohs for his third appearance, and there's a lot to catch up on. Since we last spoke, Pete made Erupcja, a feature starring Charli XCX that he shot in Warsaw with no script, a crew of three, and the same Canon 5D Mark III running a Magic Lantern raw hack he's used on every film in his process. The film premiered at TIFF, in a year where he also had The True Beauty of Being Bitten by a Tick at SXSW and Obex, which he co-wrote, shot, and edited with Albert Birney, at Sundance. Throughout the episode Pete tells the full story of meeting Charli at 3am in a Lower East Side bar with Jeremy O. Harris just before Brat came out, and how the project survived Brat summer to shoot three months later, right before her world tour. We get into why he pitches actors an experience rather than an idea, how his "don't care" philosophy kept the stakes low even with a global pop star on board, why he finally signed with a manager, and how he wrote his first script in years using the exact same process: two weeks in a friend's backyard, three scenes a day, all in the Notes app. Topics covered include: Meeting Charli XCX at 3am with Jeremy O. Harris, weeks before BratPitching actors an experience instead of a scriptShooting every film on the same 5D Mark III with a Magic Lantern raw hackWhy "don't care" is baked into his process, even with a pop star on setHaving three films on the festival circuit at the same timeSpotting the carrot on a string and not chasing false opportunitiesWhy he signed with a manager now and not years agoWriting a feature in two weeks, three scenes a day, in the Notes appThe simple math behind his 70 to 80 minute featuresEveryone should make movies, but not everyone needs to see themBeing honest with yourself when your film isn't getting into festivalsWorking through the top ten festival deadlines and letting sales agents handle the restIntuition as a director's most important skill, and how to train it dailyHis new Patreon as a virtual DVD special features hubMuch More!Links from the show: Pete Ohs on Instagram Pete Ohs on Patreon Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by four-time Grammy nominee Grace Potter to talk about her new record Trespasser, the microfilm series she built alongside it, and the long road back to the film career she walked away from at nineteen. Grace left film school to become a rock star, signed to Disney in 2005, and wrote the song that closes Tangled, but she never stopped writing screenplays or thinking like a filmmaker. Her way back in started with a music video she wrote and directed herself, and she's been shooting ever since. Throughout the interview we get into her guerrilla approach to production, why she's trespassed on more locations than she can count, and what Mick Jagger taught her about instinct you have to earn. Topics covered include: Leaving film school to become a rock starSigning with Disney and writing the song that ends TangledHow songwriting and screenwriting use the same muscleWhy the first idea is usually the right oneDirecting her first music video, and the broken rib that followedGuerrilla shooting, trespassing on locations, and working fast Trusting the goosebumps as your creative compassThe Viper Room pitch that launched her film careerWhat Mick Jagger's silver jacket says about preparation and instinctAuditioning actors instead of musicians to build her bandWhy she chose microfilms over another music videoMuch More!Links from the show: Grace Potter - Website Grace Potter - Album & Micro Series Links Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by Legion M co-founders Jeff Annison and Paul Scanlan to talk about the new Green Day comedy Nimrods, hitting theaters August 14, and how the world's first fan-owned entertainment company ended up behind it and Coyote vs. Acme after three years on the shelf. Jeff and Paul break down a model that doesn't exist anywhere else in Hollywood. Over 60,000 people now co-own Legion M, with an average investment of $500 and a minimum of $100, and they've raised roughly $30 to $35 million across the studio, individual films, and their new film fund. As Jeff puts it, their entire existence has cost less than the first ten minutes of a Marvel movie. Along the way they financed the William Shatner documentary in four days with two emails, produced My Dead Friend Zoe with Morgan Freeman and Ed Harris, and co-released Fackham Hall with Bleecker Street. We also get into the business realities most filmmakers never learn: why the group of people green-lighting projects narrows every year, and why your movie ultimately boils down to its trailer, title, and key art. Paul walks through the New Year's Rev to Nimrods title change, and tells the story of pitching Green Day on a Comic-Con panel only to be told that punk rock bands don't do panels, which is how Billie Joe Armstrong ended up performing from the roof of an ice cream truck while the band threw ice cream at the crowd. Topics covered include: How a fan-owned studio works, and why it has advantagesGetting to 60,000 investors one at a time, and the goal of reaching one millionThe three ways to invest: the studio, individual films, and the film fundHow Legion M polls its community to decide which projects to pursueThe community response that pushed them toward Coyote vs. AcmeJeff's contrarian take on David Zaslav and the shelving decisionWhy they went after Nimrods and Obsession out of TIFF, and what happenedThe title change and the marketing balancing act around a Green Day audienceThe Comic-Con activation with Billie Joe Armstrong and the ice cream truckWhy distribution should be the first thing a filmmaker thinks about, not the lastJeff and Paul's definitions of a great directorLinks from the show: Legion M - Website Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by writer, director, and bestselling comics author Michael Moreci, whose reentry into filmmaking came in the form of Revealer, a single-location horror film set in a 1980s Chicago peep show booth. He wrote the film in about ten days and it later premiered on Shudder. Since then he's co-written and co-directed the heist comedy Holiday Hold-Up, written on Syfy's Revival, and continued a long career in comics on series like Barbaric and Dick Tracy.Throughout the episode we get into the discipline that lets you write a feature in ten days, why he thinks directing is mostly pre-production and post, how the crew community at Flyover Studios in Illinois has become the lifeblood of everything he makes, and the hard lesson that the second film is harder to get made than the first. Topics covered include:Writing Revealer in ten days and more or less shooting the first draftWhy a thorough outline is what actually lets you write fastWearing the writer hat and the director hat, and why you can't wear both at onceSplitting one narrative feature between four directors, one per characterClarity of vision as the thing that makes every on-set decision easyHow an abandoned Air Force base became Flyover StudiosBuilding a crew community that stays, grows, and moves laterallyWhat writing for a cable series taught him about what he doesn't wantWhy comics training makes you fast, economical, and better at editingSomehow holding the Dick Tracy comic rights, and the value of just askingAll of this and much more on today's show! Links from the show: Michael Moreci on Instagram Tessellation official site Revealer on Shudder Flyover Film Studios Barbaric from Vault Comics Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this solo episode I break down the process of writing a musical score for the first time on my upcoming short film Crow. Topics covered include: Why the advice to "specialize in one area" was never right for meEditing the entire rough cut with zero music in 10 to 20 second chunksLocking in sound design before any temp score so music never becomes a crutchScoring all five cues out of order, starting with the final cue and working backwardsWhere the process stands now: rough guitar demos down, next up is re-recordingMuch more!Big thanks to Soundstripe for executive producing the film and sponsoring this episode. Check out their new Soundstripe LIVE tool at soundstripe.com/noam Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by filmmaker and re-recording mixer Mark Hensley to talk about his micro-budget feature Clown and Out in Valley Village, which he shot guerrilla style over the course of a year with no crew, a cast of two, and a total budget of around $4,000 (half of which went to a single permit). Mark shares how he found the script through a Facebook writing group, cut a 200-page draft down to something shootable, and built a workflow around editing each scene the night it was shot so he and his actors could review the footage and reshoot anything that wasn't working. We also dive deep into his remarkable background in sound, from recording music at the Record Plant in Sausalito to mixing major network TV shows in LA, and the practical audio techniques every indie filmmaker should steal from his playbook. Topics covered include: Why shooting slowly over a year with no crew is a creative advantageOperating as a one man band with the S1H, an RS3 Pro gimbal, and lavs into cameraWhy no single plugin fixes bad dialogue, and rescuing scenes with tools like DX ReviveHaving actors re-run scenes as audio-only safety takes to patch dropouts in postWhen emotional production sound beats technically perfect ADRShooting guerrilla style in LA, and why a boom mic is the one giveaway to avoidKnowing your coverage in advance instead of shooting every scene wide-medium-closeRenting vs. buying gear, and why becoming a filmmaker means owning a cameraWhy anybody can become a filmmaker, even starting at 55 with zero experienceSign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by Aidan Leary and C.R. Thompson, the writing team behind Monkey's Magic Merry Go Round. A micro-budget horror feature pitched as Mr. Rogers' Neighborhood meets Evil Dead 2, produced by mumblecore legend Joe Swanberg. Throught the episode Aidan and C.R. share the wild origin story of the film, from a screenplay written in just two weeks, to them living in the back of Joe Swanberg's video store just two months later after he bought it. We also get into the nuts and bolts of the 11-day shoot: directing without a first AD, running a crew of about a dozen people inside the Chicago Children's Theater, hiring set builders straight off PBS, and their lightning fast post-production process. Topics covered include: Turning a childhood nightmare about an evil monkey puppet into a featureFour-act structure vs. three-act structure, and the South Park methodUsing Joe Swanberg's own pitching technique to sell him the scriptJoe's best advice: the only wrong decision is no decisionIntentional continuity breaks as a creative safety netEditing lessons: temp sound effects, test screenings, and killing your darlingsWhy editors often make the best directorsMuch more!Links from this episode: Film on Instagram Aidan Leary on Instagram C.R. Thompson on Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by actor and filmmaker Hannah Barefoot to talk about building a career as a working actor, her recurring role on NCIS: Origins, our new short film Crow, and the leap into producing and crowdfunding her own first feature, Wyoming Christmas Carol. Throughout the interview Hannah breaks down how she went from a string of day jobs to 80 film and TV credits, and how that's now led her into feature filmmaking. We also get deep into the producer side of indie filmmaking. Hannah shares exactly how she's financing Wyoming Christmas Carol through a WeFunder equity crowdfunding campaign, why fiscal sponsorship matters for filmmakers, and the practical steps for building pitch materials that actually convert. Topics covered include: Hannah's path from small-town Wyoming to 80+ film and TV creditsBurning out, quitting acting, and finding her way back in her late twentiesLanding a recurring role on NCIS: OriginsWhy the "small" no-budget projects are so often the ones that change everythingFinancing a feature through WeFunder equity crowdfundingFiscal sponsorship, 501(c)(3)s, and why they matter for indie filmmakersShooting in-character photo shoots to sell a project more effectivelyMuch more!Links from the show: Wyoming Christmas Carol - WeFunder Wyoming Christmas Carol - Instagram Hannah Barefoot - Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by writer-director-actor Cory Thibert to talk about his debut feature Mild Life, a coming-of-age film that premiered at Woodstock Film Festival and went on to win Best Canadian Feature at the Victoria Film Festival. Mild Life follows Lawrence, a drummer whose world gets thrown off beat when his girlfriend wants to leave their hometown just as he's stepping into a caregiver role for his parents, who both live with cerebral palsy. The story is drawn directly from Cory's own life - both of his parents have cerebral palsy, and he cast actors with cerebral palsy to play the parents for authentic representation. Throughout the inteview we discuss the challenges of going this personal with your work, why "the more specific you are, the more universal you are" advice is true, and how to mine your own experience to create more meaningful stories. We also break down his 14 day shoot, 98 page script, 5 person skeleton crew, and the 2 camera / always-rolling coverage strategy that helped him reach the finish line. Topics covered include: Finding a personal way into your stories - and how to avoid self-indulgenceAuthentic disability representation on screen and casting actors with cerebral palsyComing up as a filmmaker without family money or a financial safety netMaking a feature between two kids' births while holding down a day jobRunning a five-person skeleton crew and shooting two cameras at all timesDirecting and starring at once - how to balance wearing multiple hatsThe Canada Council grant that funded post after the shoot wrappedApproaching distribution with a tiered strategy (Crave, Hoopla, Kanopy)Much moreLinks from the show: Mild Life - Website Mild Life - Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by filmmaker and graphic artist Jason Laurits to talk about his debut feature Love's Company (starring Rachel Dratch), and the unique two-decade creative journey that led him to directing his first feature in his 40s. Jason breaks down how the film started with a single absurd thought ("what would happen if you actually kidnapped a celebrity?") and grew out of his love for Misery, Sunset Boulevard, and Ruthless People. He shares how he taught himself to edit in order to cut a proof-of-concept teaser that he used to raise money, attract a team, and ultimately land his cast.We also get into the realities of shooting a 95-page feature in just 15 days on a micro-budget in Louisiana, how his line producer helped him build a crew from scratch in New Orleans, landing Rachel Dratch through a single well-placed connection, and the constant on-set math of combining and cutting shots to never once go over schedule. Topics covered include: Using a teaser, poster & pitch deck to raise money for a feature filmHow to shoot a 95-page feature in just 15 daysCombining and cutting shots on the fly to never go over scheduleWhat 20+ years running his brand Paste taught him about filmmakingWhy getting into directing in your 40s can be an advantageThe "step-by-step vs. chasing the clouds" philosophyTrusting your voice and letting go of fleeting external goalsMuch More!Links from the show: Love's Company - Trailer Love's Company - Instagram Jason's Brand - Paste Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode I'm joined by filmmaker Nick Toti - one half of the DIY filmmaking duo behind the viral 80-second short Dead Grandma, the TIFF Midnight Madness sensation It Doesn't Get Any Better Than This, and the upcoming feature Homebody. Throughout the episode Nick breaks down the decade-long origin story of Dead Grandma, from an improvised game he invented while working as a nursery school teacher in Austin to a 35mm short film that blew up in Variety and landed him on this podcast. We also discuss how his $5,000 found footage feature It Doesn't Get Any Better Than This unexpectedly landed in TIFF's Midnight Madness, the unconventional theatrical-only release strategy he's used to screen it across multiple continents without a distributor, and why Nick is now trying to convince A24 or Blumhouse to fund a studio remake of Homebody. Topics covered include: The real-life origin of Dead Grandma and how it developed over a deadeCo-directing with his wife and creative partner Rachel KempfShooting on 35mm film - and everything that went wrong before they even rolledHow It Doesn't Get Any Better Than This got into TIFF Midnight MadnessThe aesthetic of Homebody: making a movie that feels like a lo-fi demo tapeActively pursuing failure as a creative strategy - and why it eventually workedNick's 25-hour real-time experimental documentary projectDie Die Books - the horror film criticism press Nick and Rachel runMuch more!Links from the show: Dead Grandma Short Film Homebody Trailer Die Die Books Sign up for my newsletter for exclusive filmmaking insight each Sunday

In this episode, I'm joined by actor, filmmaker, and musician Nathan Xia to talk about his unconventional path into the industry - from making YouTube sketches with a flip camera to acting in studio projects, getting repped as both an actor and writer-director, and developing his deeply personal feature Adam's Song. Throughout the conversation Nathan shares how he fell into acting out of necessity while co-directing a scrappy COVID road trip feature with his roommates, and how that unexpected pivot eventually led to representation, festival success, and a role in Danny Madden's Downbeat. He also breaks down the relentless hustle behind landing his producer at Vanishing Angle, getting into the Blacklist Project Lab after 14 rejections, and signing with management company M88 - all before turning 26. Topics covered include: How Nathan discovered filmmaking through a flip camera and YouTube sketchesMaking a $2,000 road trip feature across six states during COVIDFalling into acting out of necessity - and finding it on the festival circuitCold-emailing his way to representation at Momentum Talent AgencyHow attending festivals (not just submitting) changed his careerLanding veteran indie producer Benjamin Wiesner through responsiveness and rewritesGoing 0-for-14 on labs and fellowships before getting into the Blacklist Project LabDeveloping the feature version of Adam's Song and scouting in West TexasWhy being a writer-director-actor gives him a unique advantage in attaching talentMuch more!Follow Nathan on Instagram Sign up for my newsletter for exclusive filmmaking insight each Sunday