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I don't know if it's fair or not, but if you're going to launch a service made up of Oscar nominated films, you have to have a background in making great films yourself to make it work. My guest today, director Alejandro Vilpa, is pushing forward with both: a streaming service called Vilpa Max that is now available in the Middle East/North Africa region and the UK for award-winning short films, and also going on a festival run with THE UNDERTONE OF DAVID JENSEN (2026), a sumptuous film about the struggles of a violin soloist. He put it together with the help of the Czech and Mexican governments, not an easy task, and now goes on to launch a streaming platform! It takes guts. Let's celebrate that today with Alejandro. In this episode, Alejandro and I talk about: how he launched Vilpa Max, a new platform available in the Middle East and the UK for award-winning short films;his start in filmmaking and what led him to starting his own streaming service;why the distinction of award-winning films as part of Vilpa Max;what's the pitch for an Oscar nominated short to wind up on Vilpa Max?;his advice for nominated filmmakers right now;the need to create high-quality films of your own if you want to attract those kind of filmmakers;the story behind THE UNDERTONE OF DAVID JENSEN (2026);how he handled the music playing in the film from actors who didn't know how to play the violin;putting together a film assisted by both the Czech and Mexican governments;"short films don't matter" -- his thoughts?;what's next for him and when Vilpa Max will launch in the United States. Alejandro's Indie Filmmaker Highlight: Malachi Marlan Memorable Quotes: "It's all about the team that I got. I got all the best team that I could have with what I had." "Most of us artists, we struggle to find out what's next, right?" "I found there was...these films from the Oscars and Cannes Film Festival. They won and nobody knew about them. Why?"  What's the pitch for Vilpa Max to filmmakers? "We make them make money with their films" "I like to say we are all David Jensen." "We're constantly scouting for new films." "I don't think there's a single film in Vilpa Max that you would say, okay, that looks amateur." Links: Vilpa Max Follow Alejandro on Instagram Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

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

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MADELEINE COLLINS (2021) Director: Antoine Barraud Writers: Boris Lojkine; Delphine Agut Cast: Abou Sangare; Alpha Oumar Sow; Nina Meurisse SYNOPSIS Judith leads a double life: two lovers, two sons in France and one daughter in Switzerland. Entangled in secrets and lies, her lives begin to shatter. Subscribe to our YouTube channel Follow us on Letterboxd Follow us on Instagram Follow us on X Follow us on Facebook Follow us on TikTok Follow us on LinkedIn Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

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

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

Watch This Episode On YouTube Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: SOULEYMANE'S STORY (2024) Director: Boris Lojkine Writer: Boris Lojkine; Delphine Agut Cast: Abou Sangare; Alpha Oumar Sow; Nina Meurisse SYNOPSIS Souleymane, an asylum-seeking cyclist who delivers meals in Paris, has only two days to prepare for a crucial interview. This interview will determine his residence permit status. Subscribe to our YouTube channel Follow us on Letterboxd Follow us on Instagram Follow us on X Follow us on Facebook Follow us on TikTok Follow us on LinkedIn Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Filmmaker Jeffrey Roth has never shied away from intriguing topics, looking to find the humanity behind some of the world's most influential stories: the Apollo astronauts, vice presidents of the United States, or a famed Egyptologist like he does in THE MAN WITH THE HAT (2026). He brings an eye for the story, not the politics, and that's what makes him an amazing filmmaker . In this episode, Jeffrey and I discuss: what's the best way to describe his newest film;how he got started in filmmaking;why he's interested in the human element of history;film in documentaries and his view on hybrid docs and re-enactments;the political environment and reaction if he announced he was doing a documentary on any sort of figure today versus when he did 41 (2012);the wild and bold story of how he secured the ability to make THE MAN WITH THE HAT;what he owes a subject as a documentarian;how he structured THE MAN WITH THE HAT;the name of the film and how he chooses topics;what's next for him. Jeffrey's Indie Film Highlight: FOR ALL MANKIND (1989) dir. by Al Reinert Memorable Quotes: "It's always one step ahead of you then where you really think that you should be."  "I was with a buddy at a an event with these Apollo astronauts and we were just sitting around listening to them. And somebody had just mentioned it would be very interesting to see and watch a story about who they are as opposed to the science or the technology." "41 is not how to love or hate a Republican. It's about a story and a man...who happened to become president." "I would rather go to Egypt and shoot the antiquities there and shoot it either artistically, stylistically, whatever you wanna call it rather than get on a set." "I don't think the [political atmosphere] has changed. I would say it's probably heightened." "They made a big event with George and Barbara, with eight Apollo astronauts, six of the guys that walked on the moon in this one event. We showed the room and I walked out of there that night thinking I'll never see this guy again. But that was fun." "I owe them respect. I owe them honesty and to try to let them know really what the goal is. I don't want to tell them too much about what I'm trying to do. Because I don't want them to think about it. I want to...try to get the real person if I can. So when I'm sitting in an interview situation, I do not like to give the questions in advance." "I don't like to put somebody's name or really hit home to make the title too specific to what you're doing." Links: Watch THE MAN WITH THE HAT (2026) Follow THE MAN WITH THE HAT Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTube Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: TO THE WONDER (2012) Director: Terrence Malick Writer: Terrence Malick Cast: Ben Affleck; Olga Kurylenko; Javier Bardem SYNOPSIS After falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood. Subscribe to our YouTube channel Follow us on Letterboxd Follow us on Instagram Follow us on X Follow us on Facebook Follow us on TikTok Follow us on LinkedIn Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest today, director Robert Ham, has lived a life of service -- to his country, to art, to his family -- and it moved me deeply to host him for the podcast. We talk about his military service in the Army as a combat cameraman; losing his wife to cancer and making a documentary about her beautiful life, of honoring a 9/11 family with his latest film, ZZASLOW K-427, which is screening in New York City on January 18th, 2026. And if this sounds heavy, that's the duopoly of sometimes difficult service. I can't speak to any other profession like medicine that often walks the line so closely with the fragility of life, but in the military, a positive outlook even in the harshest conditions is the only way you'll make it through, and that spirit is reflected today on the podcast. Welcome to our world.  In this episode, Robert and I discuss: the instant rapport of veterans, immaterial of branch and age;how he joined the military as a combat cameraman and the advice he'd giving aspiring filmmakers thinking about joining the military (OCS is officer candidate school; new recruits can attend with a four-year degree);how he became the most decorated combat cameraperson in Army history;graduate school at USC and earning a Tillman Scholarship from the Pat Tillman Foundation;why he started his own production company, HAMMR Productions;the challenge of showing PTSD on screen and what he thinks of veteran-focused films;weighing his own mental health with making realistic films about painful parts of his life;his reflections on MADE WITH MELANIE (2022) and his advice for people embarking on a similar journey;releasing indie films on YouTube;working on different topics than military related films?how INTERPRETERS WANTED (2023) is a great primer for learning more about the U.S. relationship with Afghanistan;why he edits his own projects;the story behind ZZASLOW K-427 (2025), which is screening in NYC on January 18th;the festival strategy for his films;what's next for him. Robert's Indie Film Highlights: WARFARE (2025) dir. by Ray Mendoza; MY DEAD FRIEND ZOE (2024) dir. by Kyle Hausmann-Stokes; HOLLYWOOD GRIT (2025) dir. by Ryan Curtis; SAND CASTLE (2017) dir. by Fernando Coimbra and Chris Roessner; Rebecca Murga; Maximilian Uriarte; Mike Dowling Memorable Quotes: "As going through the unique experience of being in the military and then coming out of the military and now being labeled a veteran, which becomes so much part of our personality...when I meet other veterans, it is that common bond." "I did extra work. I was a Marine in FLAGS OF OUR FATHERS (2006) as an extra." "Same thing with everybody in the military. It's hard. You're asked to do morally complicated things that you have to then live with. And so that's the first thing that I would approach it with is that like, where do you stand?" "It feels like the further you get away from the source of anything, the further from the truth you're gonna get, right?" "I've always used the camera to almost separate myself from the trauma." "All I could do was film. I don't know, I'm not a doctor, I'm not, I'm like trying to read these crazy things that she's researching and that we're looking together and taking notes when doctors tell us diagnoses and what we're trying to do and what options and medicines and stuff I've never heard of before." "We had the conversation about how we share this with the world and she just basically said, I trust you."  "She was a great person. She was a wonderful woman. She deserved a film to be made about her."  "It does come back down to my own inability to know how to help a helpless situation." "I have four kids. I'm married, I have a mortgage. So whoever calls up and says, we got a budget, I'm like, okay, let's do this." "I'm very self-critical of my edits and I don't hold onto things very closely. As a director, you shoot something and you're like, oh, this is it. And then the editor has to be like, no, that wasn't it." Links: Follow Robert On Instagram HAMMR Productions Watch MADE WITH MELANIE (2022) Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

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

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE END OF THE TOUR (2015) Director: James Ponsoldt Screenplay: Donald Margulies Cast: Jason Segal; Jesse Eisenberg SYNOPSIS David Lipsky, a reporter with the Rolling Stone magazine, interviews acclaimed novelist David Foster Wallace for five days, during which they form a unique bond. Subscribe to our YouTube channel Follow us on Letterboxd Follow us on Instagram Follow us on X Follow us on Facebook Follow us on TikTok Follow us on LinkedIn Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

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

Watch This Episode On YouTube It's hard for me to conjure up another word for Joecar Hanna's award-winning short films, DELIVER ME (2003) and TALK ME (2025), other than: masterpiece. They push the boundaries of cost, intimacy, and what the medium itself can deliver. If you're able to see them -- maybe reach out to Joecar on social media and be nice, it might work -- do so. Near the end of the episode, he gets to an important point: intimacy content still hasn't been taken over by AI. What a unique filmmaker here today for the podcast; director/writer/actor, even willing to work blue, Joecar Hanna. In this episode, Joecar and I discuss: what it's like having masterpieces of short films unavailable for viewing;if there's a part of filmmaking that doesn't appeal to him;how he got started in filmmaking and why he decided to get his MFA at NYU;telling "your story" if you don't have a story to tell;changing "find your voice" to "find your perspective";how to think of his last two films with similar names;his ability to pull off so many things with his films -- art department, makeup, intimacy coordination -- with so little money;the focus of his art at the intersection of intimacy and love;the amazing story (and Spike Lee's encouragement) about him acting in intimate scenes;why so many filmmakers shy away from the level of intimacy that's in his projects;if he's happy with NYU's focus on top festivals and his recommendations for others;what people are looking for in films if it's not quality?his next project and how people should approach film festivals. Joecar's Indie Film Highlights: AFTER THIS DEATH (2025) dir. by Lucio Castro; DRUNKEN NOODLES (2025) dir. by Lucio Castro; THE MAN FROM EARTH (2007) dir. by Richard Schenkman Memorable Quotes: "And they always tell you to keep it private and to preserve the status and all this kinds of things, right? That, for a short, I sometimes wonder really if it's necessary." "Racism in Europe -- in particular, Spain -- is completely different to how racism could be here, right? It's more invisible. It's more like little details." "Do I need to go to film school? And the truth is I could focus while I had all the other crafts, I could focus on the last one that I needed to train, which was writing."  "How can I tell this story and can I condense when I don't have tools or I don't have money."  "When you're in film school and you have many people helping you, obviously they're not getting paid." "For TALK ME, I had to go back and ask every single person I knew for the last 20 years favors." "I really like to talk about what I call little prisons of, or cages, from people...that we like to put ourselves in." "They have to know me and they have to know that I'm not a creepy person that is just...trying to get everyone naked." "There's 300 people in this room seeing our butts right now."  "When I won TIFF, no one called me next day."  "We can't be too precious about what we have." "Even if you go to Sundance Labs right now, you can find people struggling with financing. You better hurry." "Good thing for now is the [AI] limitation with intimacy content is not allowing people to do that yet." Links: Follow Joecar On Instagram Joecar Hanna Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTube Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: BUNNY (2025) Director: Ben Jacobson Writers: Mo Stark; Ben Jacobson; Stefan Marolachakis Cast: Mo Stark; Ben Jacobson; Liza Colby SYNOPSIS Over one wild summer day and night in their East Village tenement, streetwise hustler Bunny and his friend Dino scheme with a crew of eccentric neighbors to cover up a dead body. Chaos reigns as the clock ticks and the heat rises. Subscribe to our YouTube channel Follow us on Letterboxd Follow us on Instagram Follow us on X Follow us on Facebook Follow us on TikTok Follow us on LinkedIn Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTube Considering most of the episodes now from the previous three seasons are under paywall, the first episode of the New Year simply has to be excellent. It's what listeners throughout the year probably will listen to first, and thankfully, I found a guest that absolutely exceeds any expectation a listener might have when they click play: director Robert Kolodny of THE FEATHERWEIGHT (2023). If you google Criterion Collection, Robert's name, and Reddit, you'll get the comment I reference here about how he's going to be a "GOAT filmmaker in a couple of years, up there with Scorsese, Anderson, Fincher. Just watch." I didn't write it, but I wish I had. In this episode, Robert and I discuss: the obsession of what's next, from filmmaking to college football, and what that means for directors;how he got his start and his incredible preparation work of watching films for his craft;how he watches other films and his thoughts on film criticism;what he learned on his 14 year path from cinematography to directing his first feature;what he's looking for in terms of working on a project;the genesis of THE FEATHERWEIGHT and what people should expect to watch;how he came up with the style of the faux documentary for the film;the invented crew members for the film to help the actors;why there are so many siblings in independent films;whether indie filmmakers can go too far in pretentiousness;if THE FEATHERWEIGHT felt like a documentary while filming and his thoughts on the genre;AI in indie films;the incredible score in THE FEATHERWEIGHT and why the music was so important for the film;the casting process and the BAND OF BROTHERS (2001) connection;the underrated nature of this film;what he'd do differently for the release strategy of the film;what's next for him. Robert's Indie Film Highlights: PREDATORS (2025) dir. by David Osit; ZODIAC KILLER PROJECT (2025) dir. by Charlie Shackleton; EEPHUS (2024) dir. by Carson Lund; PETER HUJAR'S DAY (2025) dir. by Ira Sachs Memorable Quotes: "My philosophy has always been, in order to be a filmmaker, you have to be a working filmmaker. Now that doesn't just mean being a technician, but it does mean putting the hours in and looking at what contemporary cinema is and trying to be attached to it in as many meaningful ways as possible." "I've been incredibly privileged that there's never really been a time in my life where I did not know this is what I wanted to do." "I keep...a very extensive spreadsheet...it's December 11th that we're recording this. I have watched 362 movies in the year 2025 so far. And I'll probably get up to 380." "Will it be able to...hold the amount of prestige that I am attributing to it? That I believe that it deserves. You're like a parent waiting for your kid to get into college." "Do I think that some kind of digital actor is gonna give a better performance than a real actor? I would rather boil myself in a pot of soup than even consider such a ridiculous question." "There's a ton of music in the film but most of it is hidden. I could see people watching the film and being like there's just that one song at the end, which is not true."  Why the music was so important to him: "It's partially because I'm an insane person. And partially because, you're working in a period piece, right? The film takes place in 1964 and then intermittently in 1941. And if we're going to sell the idea of this is a documentary that was made half a century ago, how are we gonna stand up and believe in that?" "The originator of the idea of making this movie about Willie Pep was James Madio." "Despite people being like, oh, there's no good movies out. That's a fucking lie." Links: Follow Robert On Instagram Watch THE FEATHERWEIGHT On Mubi Support this podcast at — https://redcircle.com/first-time-go/exclusive-content