Bulletproof Screenwriting™ Podcast

In this episode, veteran actor and director Greg Travis dives into his decades-long filmmaking journey, culminating in the release of his once-abandoned 1984 feature Dark Seduction. Shot on 16mm black-and-white film, the noir-vampire hybrid languished in post-production limbo for over 30 years before digital technology made its completion possible. Greg shares candid stories about the ups and downs of making the film—from lost investors to dusty negatives—and explains how delays actually gave him the chance to polish the project into something stronger than it would have been decades ago. Greg also reflects on lessons learned from working with top-tier directors like David Lynch and Paul Verhoeven, emphasizing the importance of tone, improvisation, and a solid story structure. As both an actor and filmmaker, he offers practical advice for new directors, including taking acting classes, planning with a three-act outline, and remaining open to spontaneous creative choices on set. His story is not just about finishing a movie—it’s about staying committed to your vision through every challenge the industry throws your way.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Evan Kidd is a passionate indie filmmaker who believes great stories don’t need big budgets—just big heart. In this episode, he shares how he created his feature film Son of Clowns using the resources he already had: friends, favors, and faith in the process. With a deep respect for collaboration, Evan emphasizes the importance of building a reliable team, staying grounded, and keeping ego out of the equation. His filmmaking philosophy leans heavily on authenticity, transparency, and making the most of real-world environments, often embracing the beautiful chaos that unfolds on set. Throughout the conversation, Evan offers wisdom for creatives struggling with fear and perfectionism. He encourages filmmakers to stop waiting for ideal circumstances and start where they are, even if that means running sound themselves or rewriting scenes to fit accessible locations. “Filmmaking is just a big game of improvisation,” he says, reminding us that adaptability and passion are more powerful than money. His journey is a heartfelt lesson in making art that matters—without asking permission.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Brit Cruise, an educator and filmmaker behind Pixar in a Box at Khan Academy, shares his journey from editing videos with dual VCRs to blending storytelling with science education. He unveils how Pixar connects math and physics to filmmaking, demonstrating the real-world applications of classroom concepts. Brit emphasizes that creativity thrives on embracing the unknown and discusses the upcoming curriculum, allowing students to create their own animated shorts. This conversation is a treasure trove for filmmakers, educators, and those passionate about innovative learning!

Gary King is a filmmaker who transitioned from a career in psychology and human resources to independent cinema, building a body of work that balances heart, hustle, and deeply human storytelling.In the spirit of Taoist unpredictability, Gary’s story unfolds not as a straight line, but as a rich weave of intuition, risk, and creative alignment. He didn’t attend film school—not out of rebellion, but because he didn’t know it existed as a real path. Yet, what he lacked in formal education, he made up for in lived experience, teaching himself the craft by actually making films. From his first feature "New York Lately" to a haunting indie gem titled "Among Us," his journey is a testament to following that subtle inner pull, even when it defies logic or convention.What stood out most was Gary's devotion to character.He didn’t chase Hollywood formulas or pre-packaged three-act structures. Instead, he sculpted stories that breathe. Stories that fail and rise again. He spoke of actors, not as tools to carry his vision, but as living beings whose rhythms dictate the energy of a scene. “The first take might be gold for one actor, but the sixth take is where another actor finds their truth,” he said. That kind of awareness doesn’t come from reading screenwriting manuals. It comes from presence.It’s no surprise that Gary gravitated toward stories with strong female leads. His commitment to representation isn't a gimmick—it’s a reflection of his own lived dynamics. He and his wife uprooted their lives together, and it was her faith in him that seeded the beginning of his filmmaking path. When he pitched the idea of becoming a director, her response wasn’t fear—it was, “Okay, how do we make this happen?”Every film Gary makes becomes his personal film school. No gatekeeping. No pedigree. Just the camera, the actor, the breath of a moment, and the sacred chaos of the edit room.One of the most beautiful sentiments he shared was how universal pain is the bridge to empathy. “You can tell a story about a Broadway dancer who never makes it, and someone who’s never danced a day in their life will see themselves in that struggle.”And while his films may not be backed by million-dollar budgets or high-concept gimmicks, they pulse with something far rarer: authenticity. A humility that says, “I’m still learning.” A clarity that says, “This is who I am.” And perhaps most importantly, a humor that says, “Yes, I returned a porno tape to Blockbuster by accident, and no, I don’t regret it.”Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

When two Daves walk into a podcast, you don’t expect to stumble upon a meditation on art, failure, persistence, and horror-comedy. But that’s exactly what happened in this electric and delightfully unfiltered conversation with Dave Campfield, a filmmaker, actor, and host of the Troma Now Podcast, best known for his work in the cult Caesar and Otto comedy-horror film series.Dave Campfield is a fiercely independent filmmaker whose journey from a now-defunct film college in New Mexico to directing his own cult horror satires has been a long and winding road paved with hustle, humor, and horror.We start in the sand-colored surrealism of Santa Fe, where adobe buildings and the ghost of City Slickers set the stage for Dave’s early filmmaking dreams. In the land of tumbleweeds and tumble-down gym studios turned sound stages, Dave cut his teeth not just on film but on the art of adaptation.The college no longer exists, but the memories—like chalk lines under studio lights—remain vivid in his story. “It was like going to school on Tatooine,” he says, laughing, but behind that joke is a bittersweet nod to the ephemeral.From there, Dave walks us through the illusion of success—early meetings with Universal and New Line Cinema where hopes were dangled like carrots in front of eager young dreamers. The industry, he quickly learned, speaks its own coded language: familiarity, marketability, and sometimes, plain deception. One mentor told him to “say you're young, from the streets, and have a dark comedy,” regardless of truth. Dave gave it a shot but came away with the haunting realization that "they were intrigued enough to keep me on leash, but not enough to make it happen."That experience seeded his first real film, “Dark Chamber,” a mystery-horror project which deliberately bucked slasher formulas. It took five years to make—five years of blood, sweat, and overdrafts. And yet, when the studios responded with, “We wanted something more familiar,” Dave knew he was swimming upstream. Still, he sold the film to a small distributor, endured its repackaging as something it wasn’t, and got it onto Netflix. A win—just not the one he envisioned.But here’s the heart of it all: Dave didn’t stop. He pivoted, not with bitterness, but with evolution. “I decided I wasn't going to be one of those people waiting for opportunity. You had to make it happen on your own.” And so, he leaned into comedy horror—a genre he describes as “Abbott and Costello meet Frankenstein, but for the splatter generation.” Thus, Caesar and Otto were born: two absurdly lovable doofuses bumbling their way through massacres, monsters, and paranormal mayhem.One of Dave’s secret weapons is loyalty to what’s real. Whether recounting how Lloyd Kaufman forgot him (then remembered) or editing commercials for the Philadelphia Pet Expo, he keeps a kind of grounded magic about his craft. He shares a deeply personal new project, “Awaken the Reaper,” born from a decade of introspection and struggle, calling it “the most personal thing I’ve ever written.” He says, “It’s about being stuck—feeling like every day you’re not moving forward—and finally getting out of your own way.”All along, Dave’s been quietly building a reputation for casting future stars before they break—Trey Byers (Empire), Peter Scanavino (Law & Order)—and hosting a podcast that thrives not just because of brand synergy with Troma, but because he genuinely knows how to talk to people. “They’ve never rejected an episode,” he remarks. “I tease Troma a lot, and they’re always game. It’s a beautiful collaboration.”The conversation wraps not with grandiosity, but a recognition that even the smallest cult followings can keep a creator going. “My fanbase is small, but intense,” Dave says with pride. “I can rattle them off on two hands.” Maybe that’s enough. Maybe that’s everything.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

S.S. Wilson, the screenwriter behind cult classics like Tremors and Short Circuit, shares his insights on low-budget filmmaking. He discusses how constraints shaped creative choices and the meticulous story structure that brought Tremors to life. Wilson reflects on character development, the evolution of the franchise, and the integral role of sound design in storytelling. He also emphasizes the importance of a solid writing process and offers valuable advice to aspiring filmmakers aiming to craft compelling narratives.

In this episode, we dive into the wild, wonderful world of Ron Bonk, an indie filmmaker and founder of SRS Cinema known for the cult horror-comedy House Shark. Ron shares his journey from studying accounting and criminal justice to becoming a self-taught director, driven by a passion for storytelling and a deep love for genre cinema. With no Hollywood backing, Ron used camcorders, community college equipment, and his own home as a film set to bring his visions to life. House Shark began as a joke about roof noises and turned into a full-blown production that he wrote, directed, and shot over a year. His philosophy? Use what you have, stay true to your weird ideas, and don't be afraid to break the rules. He talks about the challenges and joys of indie filmmaking, how crowdfunding works behind the scenes, and why authenticity matters more than perfection. As Ron puts it, “You tell people whatever they need to hear in order to keep shooting.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Michael Ryan started his career working in the TV industry for Sir Lew Grade’s UK company, ITC. In 1978 he formed J&M Entertainment with a colleague, a distribution sales agent for independent films. As J&M grew, it developed its business model to also take responsibility for financing new films & providing production finance.In 1980 Ryan and J&M were founder members of the American Film Marketing Association (AFMA) – later to be renamed Independent Film & Television Alliance (IFTA) – which was formed to provide an annual film market based in Los Angeles. Michael served two terms as Chairman of IFTA (2004-2008) and another three terms from 2015-2021.In 2000, Ryan partnered with Guy Collins. Between them they have financed, sold and produced over 200 films, including The Wild Geese, The English Patient, The General, Whats Eating Gilbert Grape, The Osterman Weekend, the Highlander series, Planet 51 and more recently, at GFM Films with Fred Hedman, Toei Animations Harlock, Absolutely Anything starring Simon Pegg and Simon West-directed action thriller Stratton starring Dominic Cooper. On July 15, 2022, GFM’s Paws of Fury: The Legend of Hank, an independently financed and produced animated feature is based on Mel Brooks iconic Blazing Saddles that launched as a project by GFM Films at AFM in 2014, was released across 4,500 U.S. screens by Paramount.Please enjoy my conversation with Michael Ryan.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

A blank canvas. A single frame. The quiet hum before a film breathes life into a screen. But what happens after the final cut? How does a filmmaker's vision transcend the void and reach the hearts and minds of an audience? Today, we unravel this mystery with Danielle Raiz, a passionate advocate for creatives, whose work at Wix has been dedicated to empowering filmmakers and video creators.In this boundless digital age, content creation has become more than just an art—it is a language, a currency, a revolution.Danielle Raiz reminds us that the modern filmmaker is no longer a mere artist but an entrepreneur, an architect of their own cinematic empire. She shares how filmmakers can harness websites, digital marketing, and audience engagement to elevate their craft beyond the screen. "You have to engage with your viewers even before you start filming," she emphasizes. "You build your own website, create a teaser, and start talking to your fans. You share behind the scenes, updates, and teasers to create a buzz before your film is even out."A film, like a tree in the forest, may not make a sound if no one is there to hear it. Gone are the days when a filmmaker could rely solely on festivals and distributors. The power has shifted. Now, with tools like Wix, a filmmaker can craft their own digital home—a place where their work is presented with intention, where it is not merely another flickering light in the vast, crowded universe of content. The key is in visibility. "Your site is really your business card," Danielle Raiz explains. "When people talk to you, they'll Google your name. If they find a professional, beautiful online presence, it reflects on how they see your work."It is no longer enough to create; one must cultivate. Cultivate an audience, a brand, a presence. Marketing is not a necessary evil; it is an extension of the story itself. The best marketing does not feel like marketing at all—it is storytelling, an invitation, an experience.Danielle Raiz speaks of how major brands have already embraced this, turning advertisements into compelling short films. The lesson for filmmakers? Market your work as you would craft a scene—thoughtfully, purposefully, beautifully.Yet, beyond the artistry of marketing lies a fundamental truth: control. "For a long time, video creators had to play by the rules of streaming platforms," she says. "Now, everyone is chasing after great content creators. You have the power. You control the way your work is displayed, monetized, and shared. And that is an exciting time to be a filmmaker."We live in a time where technology shifts at the speed of thought. Virtual reality, interactive storytelling, live engagement—these are no longer distant dreams but tools at our fingertips. The game is no longer about who gets a seat at the table; it is about those who build their own table. And in this unfolding cinematic future, those who understand both art and strategy will rise.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Cynthia Hill, a filmmaker from North Carolina, discussed her journey from pharmacy school to filmmaking, highlighting her documentaries "Tobacco Money," "Private Violence," and the upcoming eight-part series "Road to Race Day" on NASCAR. She emphasized the importance of storytelling and character development, sharing her experiences with funding through foundations and the challenges of balancing art and business. Cynthia's work often bridges gaps between different communities, such as her documentaries on tobacco farming and farm workers. She also discussed the unique access she had to NASCAR teams, particularly Hendrick Motorsports, and the impact of her films on audience understanding.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.