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In this episode, recorded outside HOME cinema in Manchester, I begin with an update on ‘Notion’, having just delivered the Digital Cinema Package (DCP) ahead of its upcoming screening. I then reflect on Benedict Andrews’ theatrical production of ‘Electra/Persona’, starring Cate Blanchett and Nina Hoss, which brings together Sophocles’ ‘Electra’ and Ingmar Bergman’s ‘Persona’ (1966). This leads into a wider discussion about the relationship between theatre and cinema, Francis Ford Coppola’s experiments with Live Cinema and Bergman’s extraordinary use of the close-up…with the occasional sip of coffee along the way. Note: The National Theatre run of ‘Electra/Persona’ ended on 10th October 2026.

In this episode, I use a LinkedIn post as a starting point to discuss the assumption that filmmakers should always be concerned with finding an audience and marketing their work. I explore the distinction between caring about an audience and pursuing one, the relationship between creativity and commerce, and why the act of creating can be rewarding in itself. Drawing on my experiences making ‘NOTION’ and releasing ‘BLURRED LINES’, I also reflect on David Lynch, Vivian Maier, ‘Exit Through the Gift Shop’, ‘Hoop Dreams’ and ‘American Movie’, and how commercial expectations can influence the kinds of films we make. NOTE: if anyone fancies marketing ‘NOTION’ to help it find a larger audience, I’m open to offers! (Although there’s no budget for it.)

In this episode I’m joined by filmmaker Kenny Riches to talk about his fourth feature film, MOUSE. We discuss: letting personal experience inform fiction; themes and voice-overs; directing his cast, his mother and himself; cinematography, editing and sound design; and working within the limitations of a low-budget production. We also get into what happens after a film is finished: festivals, awards, distribution, theatrical exhibition and marketing. Kenny also reflects on his second feature, The Strongest Man, which premiered at Sundance, and shares what he’s learned from making four feature films. MOUSE: “Between stealing bicycles and breaking into cars, Denny’s only social outlet is spending time with his mother who loves reading correspondence from their Japanese family overseas. Denny’s loneliness pushes him to sign up for a penpal service from a classified-ad. He begins writing letters to a woman named Tess, whom he develops feelings for, but lies to about his nonexistent wealth and success. Unbeknownst to Denny, the penpal service is a scheme Tess and her real-life boyfriend, Maury, run to take advantage of the lonely. Tess and Maury find themselves in financial trouble of their own and decide to travel to Denny to take him for all he’s worth. Upon arrival they find that things aren’t what they seemed in Denny’s letters.” https://deardenny.com https://www.instagram.com/themousetrilogy/

In this shorter episode, I share an update on ‘Notion’ now that the cast and crew screening is booked, and reflect on the nerves that come with sharing such a personal film. I also respond to an online filmmaker post about needing $100,000 to make a feature, which raises a bigger question/questions about independent filmmaking: how long do you wait for the ideal budget/circumstances/ideal version of the film? Not-So-Hot Take: It's better finished than perfect.

In this episode, I respond to listener feedback on distribution, scarcity, and the difficulty of making money from independent film, before arriving at a bigger question: would I still create if nobody was watching? Along the way I talk about Werner Herzog’s views on AI and repetition, David Fincher, Robert Bresson, technical mastery, the human face, online criticism, and the pressure to constantly chase an audience. Ultimately, this is a personal reflection on the tension between the human urge to create and the expectation that creativity should somehow pay for itself through money, attention, or success.

In this episode, I’m joined by Dr David Crighton (Wrexham University) to discuss the state of UK higher education, his research into academic capitalism, and the pressures shaping modern universities. We discuss academic standards, student expectations, grade inflation, the student-as-consumer model, workloads, senior management, and the growing influence of performance metrics. The conversation also connects closely to my own career and filmmaking. I spent several years teaching in higher education, and ‘Notion’ features a number of characters who work in education. In that sense, this episode can also be seen as a little bit of background reading before viewing my third feature. Psychology Today Article: https://www.psychologytoday.com/us/blog/post-tribal/202608/why-universities-keep-lowering-their-standards

This week, I reflect on what happens after you finish an independent feature film…and whether making it available everywhere is actually the best way to find an audience. As ‘Notion’ moves towards release, I reconsider Amazon, online distribution and the idea of chasing maximum reach, before discussing ‘Blurred Lines’, the problem of reaching the wrong audience, and what filmmakers such as Werner Herzog, Michael Haneke and Pedro Almodóvar can teach us about presenting an individual perspective through cinema. I end with François Truffaut’s idea of “the film of tomorrow” and what that might mean for independent filmmakers today.

This week, I'm joined by my brother, Andy Duggan, a marketing and commercial growth leader whose career has included roles at Al Nassr FC, BP and The Co-operative Bank. We discuss digital marketing, audience growth, social media, brand loyalty and what independent filmmakers can learn from the way major organisations find, understand and retain audiences. Contact Andy: https://www.hitsuzendo.com

This week, I start with the viral behind-the-scenes photograph of four actors dressed up as The Beatles for Sam Mendes’ upcoming biopics and ask what purpose these films serve when so much of the real story is already available to us. From there, I look at biopics more broadly, including ‘Bohemian Rhapsody’, ‘Better Man’ and ‘The Apprentice’, before revisiting Martin Scorsese’s ‘The Aviator’ and its portrayal of filmmaker and aviation pioneer Howard Hughes (Leonardo DiCaprio). The image of the faux-Beatles also leads me into a wider discussion about social media, attention spans and our increasing desire for the payoff without the journey. In between various tangents, I eventually return to The Beatles and two documentaries: Peter Jackson’s ‘Get Back’, which has the confidence to depict the reality of the creative act, and a documentary about Paul McCartney’s missing bass, which has a surprisingly human story at its core.

This week, I discuss the final stages of exporting ‘Notion’ and the challenges of making sure a feature film looks and sounds as intended across different platforms and screens. From there, I discuss ‘The Invite’ (Dir. Olivia Wilde) and the increasingly rare sight of films like it in mainstream cinemas, before turning to the Arrow Films 4K release of ‘Wake in Fright’ (Dir. Ted Kotcheff). That leads into a wider discussion about physical media, boutique Blu-Ray labels and the role they play in keeping films alive, including the Radiance release of ‘Yokohama BJ Blues’ (Dir. Eiichi Kudō). Finally, the remarkable story of how ‘Wake in Fright’ was almost lost leads me to Sandi Tan’s documentary ‘Shirkers’, another film with its own unlikely story of disappearance and rediscovery. As I wrap up ‘Notion’ and think about where it goes next, this episode considers how easily films can disappear and what it takes to keep them alive.

Earlier this week, I headed to London for a 35mm screening of Ingmar Bergman’s ‘Persona’ (1966) at the BFI, which included a Q&A with Cate Blanchett, Nina Hoss and writer-director Benedict Andrews, whose new stage production, ‘Electra/Persona’, brings together Bergman’s film and Sophocles’ tragedy. Recorded on the Southbank, the episode begins with another journey into ancient Greece as I discuss the editing in Christopher Nolan’s ‘The Odyssey’, before reflecting on seeing Cate Blanchett perform on stage. From there, I compare Letterboxd reviews of ‘Persona’ with those written by Roger Ebert during his time as film critic for the Chicago Sun-Times (1967–2013), before reading the essay Ingmar Bergman wrote to accompany his 1965 Erasmus Prize. Finally, I play the BFI Q&A (with minor edits due to sound issues), moderated by Peter Bradshaw of The Guardian.

This week, I respond to your comments on the Film Graduate episodes before discussing whether grades, paid work and viewing figures are meaningful measures of success. From there, I explore whether platforms like Letterboxd have changed the way we think and talk about cinema. Along the way, I reflect on Christopher Nolan's recent comments about Lost Highway, Emily Wilson's review of The Odyssey, and a recent review of my micro-budget feature, Blurred Lines. “I am all for everyone having a voice; I just don't think everyone has earned the microphone. And that's what the Internet has done.” - Aaron Sorkin

Life After Film School: In Part 2 of my conversation with James Littlewood, we discuss what happens when film school ends and reality begins. James reflects on the mental health struggles of life after graduation, searching for work in an increasingly competitive job market, and whether film school still offers value for money. We also discuss the expectation - shared by many students and their parents - that a degree will lead directly to a career, and whether that belief still reflects the world awaiting today’s graduates. Whether you’re considering studying film, currently at university, or simply interested in the future of higher education, this is an honest conversation about film school, graduate expectations, and the challenges of building a career in the creative industries.

In this episode I’m joined by James Littlewood, who graduated from a film production course in 2025. In Part 1 of our conversation, we discuss why he chose to study film, the university application process, course culture, academic feedback, group work, student group chats and the review bombing of my feature film, ‘Blurred Lines’. Part 2 (out 24th July) continues the discussion with an extended conversation about graduate employment, mental health, the realities of trying to break into the film industry, and whether film school still offers value for money. You can watch James’s personal short film here: All Eyes On Me

Following last week’s episode on guerrilla filmmaking, I catch up on the responses it generated, including a remarkable story from the making of Around the World in 80 Days (1956) and the provocative Lone Gun Manifesto - a filmmaking philosophy that argues the best way to make films is to strip the process back to its absolute essentials. The episode then turns to recent developments surrounding the Manchester Film Festival and the festival director’s unsuccessful Kickstarter campaign, prompting a wider discussion about power, ethics and the importance of challenging questionable behaviour - regardless of the industry you work in. Along the way, I discuss Sophy Romvari’s Blue Heron and respond to allegations that my film, Blurred Lines, had copied visual ideas from a student’s short film (https://letterboxd.com/psychedelic223/film/blurred-lines-2025/). Ultimately, it’s an episode that touches on the many Catch-22s of independent filmmaking: ask permission and you risk losing the authenticity you’re trying to capture; don’t ask permission and you risk not making the film at all. Take creative risks and you may be overlooked in favour of safer work; play it safe and you risk making work that nobody remembers. Stay silent and questionable behaviour goes unchallenged; speak up and you may face the consequences yourself.