Indie Film Hustle® - A Filmmaking Podcast

Adventures at Cinequest with the Cast of This is MegIt's a been a long journey but This is Meg finally had it's World Premiere at the Cinequest. I was fortunate enough to have a bunch of the cast make the trek up to San Jose, CA from Los Angeles. We had an amazing time. Cinequest really loves and supports filmmakers. They treated us like royalty.So in between screening, parties, and meetings I grabbed the cast: Joseph Reitman, Jill-Michelle Meleán, Lahna Turner, Holly Wortell and Ruben Dario and did an impromptu podcast in our hotel room. We discussed the festival, their experiences working on This is Meg, what the state of the biz is and much more.This episode is educational and funny but a bit "blue" in its language so if you are a parent you've been warned. Enjoy my conversation with the cast of This is Meg.Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelLINKS AND RESOURCES MENTIONED IN THIS EPISODEThis is MegThis is Meg Cinequest - TicketsJoseph ReitmanLahna TurnerHolly WortellJill-Michele MeleánRuben DarioPerfect 10 Podcast with Lahna TurnerLimeade - Comedy for mature audiences only!IFH 120: What the HECK is a Scriptment?Cinequest - Film FestivalSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Aaron Sorkin Screenwriting Master ClassFreeFilmBook.com (Download Your FREE Filmmaking Audio Book)KILLER RESOURCES!!!INDIE FILM SYNDICATE Filmmaking CommunityIFH's Online Film SchoolSix Secrets to get into Film Festivals for FREE!Action Items:Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSSBONUS: TOP TEN Online Filmmaking CoursesBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How to Make $250K Indie Film Look Like $25 Million Blockbuster with Gaelan ConnellEvery once in a while I come across a filmmaker who is just a bit crazier than I am. This is true for writer/director Gaelan Connell who's film Blood Sand and Gold is a true indie film miracle. This mad man decided to raise $250,000 (much of which was out of pocket) and go off and make a big budget action film, just one problem he didn't have a big budget.Yes, I know $250K is a lot of money but it's not enough for what Gaelan was attempting to do. Check this out, Blood Sand and Gold was shot over the course of 58 days across 5 countries and 4 continents! It has Jason Bourne/James Bond style action. I mean it's nuts. Check out the trailer below:I had to have him on the show to reveal his secret sauce on how he was able to accomplish this crazy mission. Not only did he jump on the podcast and drops some MAJOR knowledge bombs, he also wrote up an article laying out his top 5 filmmaking tips. Take a listen to the podcast then read Gaelan's article. Enjoy and get ready to be inspired!Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelHere's a behind the scenes look at the indie marvel Blood Sand and Gold.Blood Sand and Gold is a modern day treasure hunt action adventure film. Shot over the course of 58 days across 5 countries (and 4 continents!), the story follows ex-criminal Jack Riordan (Aaron Costa Ganis) and Mave Adams (Monica West) as they hunt down Sir Francis Drake’s stolen treasure.So far, everything feels pretty standard, right? Action movie, check. International settings, check. Explosions, desert landscapes, helicopters, and a tiger…check. But wait: We made this whole movie with a budget of less than $250k.Why? We intentionally made Blood Sand and Gold outside of the Hollywood system to prove, firstly, that it can be done, and secondly, that nowadays there’s a way to stretch budgets further than indie films ever thought possible. In addition to the (comparatively) minuscule budget, we gave ourselves a challenge: no agents, no managers, no money people, no casting directors. And wouldn’t you know it, every insider we approached in Hollywood said,“Sounds cool! Never going to happen.”Blood Sand and Gold premieres March 10, 2017 in select theaters, online and ondemand.  As we discuss in the Podcast, here are some tricks on how we made it happen.Trick 1: Film outside the country.We intentionally shot Blood Sand and Gold in countries outside of the US. Shooting outside of the US is a magical experience. Unlike LA or NY, where seeing a production is as commonplace as grabbing coffee at Starbucks, people in areas where filming is more novel, approach filmmaking as a once in a lifetime experience, which means everyone is willing to pitch in and lend a hand.For example, starting production in Guadalajara Mexico allowed us to garner some early media attention by leading Mexican press, the awesome film commission of Guadalajara helped supply us resources for free (locations, police for action scenes, etc) which allowed us to do huge stunts on a fraction of the budget. It also led to more grassroots cooperation to help with production. People all over the world came out of the woodwork to support our project, whether it was the 200k Mercedes SLS that a friend of a friend in Mexico let us use, or the epic treasure chest prop that a villager in Merzouga, Morocco lent us for the opening sequence of the film.Cinematographer CBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

The Reel Truth on How to Survive Making an Indie Film with Reed MartinHave you ever wish that you could avoid pitfalls and mistakes that other filmmakers made before you? Today's guest does just that. Reed Martin is the author of the best-selling book The Reel Truth: Everything You Didn't Know You Need to Know About Making an Independent Film. Reed Martin is a former adjunct professor at NYU's Stern School and Columbia Business School. Previously, he has worked as the Director of Marketing at Independent Pictures, the New York-based production company of producer Cary Woods ("Swingers," "Scream"). Martin is also a former research associate at Harvard Business School, where he created class materials for the senior faculty.Check out the video below:Here's a bit on his best-selling book:The Reel Truth: Everything You Didn't Know You Need to Know About Making an Independent FilmDid you know that most of the biggest indie filmmakers, screenwriters, and producers working today each made the same avoidable mistakes early on in their careers?The Reel Truth details the pitfalls, snares, and roadblocks that aspiring filmmakers encounter. Reed Martin interviewed more than one hundred luminaries from the independent film world to discuss the near misses that almost derailed their first and second films and identify the close shaves that could have cut their careers short. Other books may tell you the best way to make your independent film or online short, but no other book describes so candidly how to spot and avoid such issues and obstacles as equipment problems, shooting-day snafus, postproduction myths, theatrical distribution deal breakers, and dozens of other commonly made missteps, including the top fifty mistakes every filmmaker makes.From personal experience and his years as a freelance reporter covering independent film for USA Today and Filmmaker magazine, Martin uncovers the truth about the risks and potential rewards that go with chasing celluloid glory. Whether you're writing a screenplay, looking for financing, about to start shooting or thinking about investing time and money (or someone else's money) in an independent film, The Reel Truth is a must-read.Get ready for some killer knowledge bombs and enjoy my conversation with Reed Martin.Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelLINKS AND RESOURCES MENTIONED IN THIS EPISODEThe Reel Truth: Everything You Didn't Know You Need to Know About Making an Independent FilmReed Martin - EmailReed Martin - TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How NOT to Shoot a $50,000 Short FilmSo as filmmakers we all want to make the best films we can. Sometimes filmmakers think that a bigger budget is the answer, that bigger is better. This is what I thought when I went down the road and create my short film Red Princess Blues. After going down this road once before with my first short film BROKEN, I thought bigger had to be better. If $8000 was good (budget of BROKEN) then with $50,000 I could blow everyone away.BROKEN opened a ton of doors for me as a filmmaker. I was contacted by studios, executives, producers, agent, you name it. BROKEN was an ambitious short film, to say the least. You can listen to that story here: How I Made Over $90,000 Selling my Short Film + Video Tutorials. In this episode, I discuss the mistakes I made when I made a $50,000+ short film. Mistakes withBudgetCrew ChoicesSize of Crew and CastProduction DesignDistribution PlanROI (Return on Investment)Who is the end user (audience I'm trying to reach)Here's more on the short film:ZOE, a young teenage girl, is lured into an after hours carnival tent by the sleazy rock n roll carnie RIMO, and gets more then she bargained for. It's up to the mysterious PRINCESS, star of the new knife show, to pull her out of the wolf's den.Check out the trailer below. This is not the first short film I made based on my feature film screenplay. I co-directed, with my brother in arms Dan Cregan, a traditional Japanese Anime Prequel called Red Princess Blues: Genesis starring the legendary Lance Henriksen. Check out that trialer below: I was a bit ahead of the curve on the distribution of Red Princess Blues. I was the first short film to be distributed exclusively on an iPhone app. Streaming was not a thing yet. I go over what happen with that in the episode as well. Check out this promo I made for the app. It's not all doom and gloom. Many amazing opportunities were generated from RPB, I just wish it wouldn't have cost me as much. = ) These are some interviews and red carpet moments from Red Princess Blues' World Premiere at the HollyShorts! Film Festival.  You can see how large of a production this short film was in this video below. I hope you find some words of wisdom in this episode and that you can learn a few lessons that cost me a bunch of $$$ to learn. Enjoy!Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelLINKS AND RESOURCES MENTIONED IN THIS EPISODERed Princess Blues - Watch on Amazon PrimeRed Princess Blues: Genesis - Watch on Amazon PrimeThis is Meg - Cinequest TicketsThis is Meg - Official SiteBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Lessons Learned from Running Indie Film HustleI wanted to put together this episode to share with the IFH Tribe the amazing lessons I've learned over the past year and a half running both IndieFilmHustle.com and the IFH Podcast. I wanted to show you how these lessons can be applied to your filmmaking or screenwriting journey. When I started IFH I really had no end game. I knew I wanted to reach as many filmmakers and artists as I could but that was it. The key for me was just focusing on the day to day tasks and not the monstrous mountain I wanted to get to the top of. BTW, I'm nowhere near the top of that mountain, I'm still at the bottom at base camp =)In this episodes I go into the 5 Lessons I used every day in my creative, professional and personal life. These are: ConsistencyLearningHow to React and AdjustPatienceHustleI break down each lesson and go deep down the rabbit hole on how you can apply these to you filmmaking and creative life. Enjoy and keep on hustlin' Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelLINKS AND RESOURCES MENTIONED IN THIS EPISODEThis is Meg - Cinequest TicketsThis is Meg - Official SiteHow to make a $1,000 Feature Film with Jay & Mark DuplassJoe Swanberg: How to Shoot & Sell Six Feature Films in a Year!RocketJumpSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Aaron Sorkin Screenwriting Master ClassHans Zimmer Film Scoring MasterClassKevin Spacey Acting Master ClassFreeFilmBook.com (Download Your FREE Filmmaking Audio Book)KILLER RESOURCES!!!INDIE FILM SYNDICATE Filmmaking CommunityIFH's Online Film SchoolSix Secrets to get into Film Festivals for FREE!Action Items:Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSSBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Turbo Kid & How to Create an Indie Film Ecosystem with Shaked BerensonI speak a lot on IFH on how filmmakers should create their own ecosystem and revenue streams, today's guest has done just that. Shaked Berenson is Co-Founder of Epic Pictures Group, a film financing, production, and international/domestic sales company based in Beverly Hills, CA.Shaked has produced films like the cult hit  Turbo Kid, Sundance Film Festival Selection Entertainment and the animated film Space Dogs: Adventure to the Moon. What is great about Shaked is that he has created his own ecosystem. From financing to production to distribution, all under one umbrella. This way he cuts out the middle man and he can keep more of the profits. Shaked came to my attention when I found out he produced the internet darling Turbo Kid. The way that film was marketed, sold and distributed is something all filmmakers should study. We go deep down the rabbit hole all things Turbo Kid, indie filmmakers, building your own revenue streams and much more. Here's a bit about Shaked Berenson: Prior to Epic Pictures Group, Berenson served as Renegade Pictures’ Director of Sales as well as the Director of Technology and International Relations for the Giffoni Hollywood Film Festival. Before Renegade Pictures, Berenson was in the Israeli Defense Force for four and half years where he served in managerial and educational roles as a project consultant to Elbit Systems, and worked as a program developer for NetVision, an Internet solutions company. He holds a degree in economics and business from UCLA. - IFTA-Online.orgEnjoy our conversation with Shaked Berenson.Right click here to download the MP3Download on iTunes DirectWatch on IFH YouTube ChannelLINKS AND RESOURCES MENTIONED IN THIS EPISODEShaked Berenson - IMDBShaked Berenson - TwitterEpic Pictures - TwitterEpic PicturesTurbo Kid - Official SiteTurbo Kid - TwitterSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Werner Herzog's Filmmaking MasterClassAaron Sorkin Screenwriting Master ClassHans Zimmer Film Scoring MasterClassKevin Spacey Acting Master ClassBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

6 Mistakes To Avoid Your First Day On a Film Set1. Arriving LateIf you’re not early, you’re late. I aim to get to work at least 15 minutes early each day on a film set. This gives me time to setup, read my call sheet and sides, cram in some extra breakfast and make my boss a coffee. If you are late on day one you instantly create a bad reputation for yourself and this industry is built on reputation and relationships. Set your alarm early for the first day, pick out what you need to wear the night before and make sure you’ve had a look at where you need to get to so you don’t get lost.2. Forgetting NamesNo one will remember your name but don’t let that be an excuse to forget theirs. It’s great if you can remember as many names as possible on your first day on a film set, at least those in your department. This will make you stand out and give you the best chance of them remembering you. I sometimes even write down people’s names in a notebook or phone when they aren’t looking so you can refer back to it. Alternatively, you can also ask the production office for a crew list to help you remember who’s who.3. Asking An Actor What They DoYou’ll be trying small talk with whoever is standing around. It’s pretty embarrassing when you ask an actor what department they are in or what they do. Embarrassing for them I guess, as they expect that you’ll know them from the seven short films they released on Vimeo last year. As long as you are polite I’m sure they’ll get over it. I’ve asked Mel Gibson’s son what his last name was. He politely replied ‘Gibson’. That makes sense, I thought.4. Phone Ringing During A TakeThis is even more embarrassing than when you wet yourself in kindergarten and had to go to sick bay to get some spare clothing. Don’t let your phone ring on set, especially during a take. At least have it on silent or even better, just turn it off if you don’t need it for some kind of emergency calls. Your Facebook and Instagram updates can wait until you get home. If your phone does ring during a take I can guarantee the crew will remember who you are and be hassling you each day until you provide a case of beer for your sins.5. Walking Through The Back Of ShotFilm sets can be a daunting place at the best of times with crew members rushing about knowing exactly what to do and where to be. You’ll find it hard on day one to even find a place to stand that is out of the way. Have a good look at where the cameras are pointing and make sure you don’t settle in the back of the shot. It’s always embarrassing when you hear “Cut!” and the director berates the person that was standing in the shot only to realize that was you…A safe bet is near all the equipment trolleys. Usually, this is fairly close to set but enough out of the way until you discover your place on set.6. Standing In The Actor’s Eye lineAn eye line refers to where an actor is looking in the scene. It may be directly at the other actors, it could be out to the horizon or it could be an imaginary moving car that is driving in the distance. So, why should you stay clear of it? Actors are performers and they need to feel secure during filming.You’d likely not love fifty people gawking while you feign ‘true love’ and awkwardly kiss your sweaty co-star in a claustrophobic studio. Such a kiss could only be made worse by a wandering PA aimlessly ambling into their line of sight. If you need to be close to the action during the scene, try and hide yourself behind some equipment or set dressing so that you remain inconspicuous. Alternatively, turn your back to them or simply look down at the ground while the scene is played out. Don’t move around and fidget.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Why I Edited My Feature Film on DaVinci ResolveI've been editing features, shorts, commercial, and everything else shot on film or video for over 20 years. Editing on almost every non-linear editing system you can imagine I know what I want and like in an NLE. When it came time to edit my directorial feature film debut, This is Meg, I knew my good old Final Cut Pro 7 wouldn't cut it. So I decide to give Davinci Resolve 12.5 a try. I've been color grading on Resolve for years and always jumped over the "edit tab" on my way to the color tab. Once version 12 came out I was blown away. So powerful, so intuitive and it just plain worked! I have to tell you,"DaVinci Resolve is what all Final Cut X should've been."The good folks over at Blackmagic Design invited me to speak at the Slamdance Film Festival 2017 to discuss my experience editing, color grading and finishing on Davinci Resolve. Enjoy!Right click here to download the MP3Download on iTunes DirectLINKS AND RESOURCES MENTIONED IN THIS EPISODELearn how to edit your film on Davinci ResolveFREE DOWNLOAD to Davinci ResolveBlackMagic DesignSlamdance Film FestivalSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Aaron Sorkin Screenwriting Master ClassHans Zimmer Film Scoring MasterClassKevin Spacey Acting Master ClassFreeFilmBook.com (Download Your FREE Filmmaking Audio Book)KILLER RESOURCES!!!INDIE FILM SYNDICATE Filmmaking CommunityIFH's Online Film SchoolSix Secrets to get into Film Festivals for FREE!Action Items:Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSSBONUS: TOP TEN Online Filmmaking CoursesBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

How to Sell Your Idea to Television with Agent Matthew DoyleSPECIAL SUNDANCE EDITION of the Indie Film Hustle PodcastToday's guest cracked open a door to a part of the industry I had no idea about, television. Matthew Doyle is a television lit agent at the Verve Talent and Literary Agency. He's an up and comer in the industry and definitely a hustler. My co-host Sebastian Twardos and I wanted to get an "in the trenches" perceptive on the television market and Matthew delivered. He tells a great story on how he got promoted to an agent with a prank by the partners at Verve. Here's a bit on Matthew Doyle:Doyle joined in January as Verve’s first off-desk TV lit coordinator. He implemented a new system for information flow and tracking, redesigned current grids, and helped lead Verve to its most successful staffing season ever, with 80% of clients staffed on broadcast and cable shows. He has been an aggressive recruiter, interviewing and training new employees. Worked with up-and-coming clients such as Arkasha Stevenson and Kirk Sullivan on the television side, and has played an important role in signing clients staffed on upcoming series such as “Pitch” and “Riverdale.” Challenges of the job? “Recognizing that everyone is the protagonist of their own story, and treating them accordingly,” Doyle says. - From Variety - 10 Assistants to Watch 2016 All of these Sundance Series episodes are co-produced by Sebastian Twardosz from Circus Road Films and Media Circus.Enjoy our conversation with Matthew Doyle. Right click here to download the MP3Download on iTunes DirectLINKS AND RESOURCES MENTIONED IN THIS EPISODEVerve Talent and Literary Agency Matthew Doyle - LinkedinSebastian TwardoszCircus Road FilmsMedia Circus PRSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Aaron Sorkin Screenwriting Master ClassHans Zimmer Film Scoring MasterClassKevin Spacey Acting Master ClassFreeFilmBook.com (Download Your FREE Filmmaking Audio Book)KILLER RESOURCES!!!INDIE FILM SYNDICATE Filmmaking CommunityIFH's Online Film SchoolBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Jason Michael Berman - Producing 5 Sundance Films & Making it in HollywoodSPECIAL SUNDANCE EDITION of the Indie Film Hustle PodcastI had the honor of speaking to Jason Michael Berman at Sundance this year. He's a Sundance vet. He has premiered 5 features at Sundance over the years and has the record for the highest selling film at Sundance ever, The Birth of a Nation which sold for $17.5 million. Crazy! This year he premiered the remarkable film Burning Sands at the festival. The film is about the intensifying violence of underground hazing on a college campus.Jason dropped some great knowledge bombs in our interview with my co-host Sebastian Twardosz. Here's a bit on Jason Michael Berman:Jason Michael Berman is the Vice President of Mandalay Pictures, where he is responsible for developing and structuring financing for Mandalay's slate of independent films, in addition to packaging projects.Berman has produced feature films that have debuted at premiere film festivals around the globe, including the Sundance Film Festival, Cannes Film Festival, Toronto International Film Festival, SXSW, Tribeca, Berlinale, and Edinburgh. Berman was named by Variety in 2011 as one of the Top Ten Producers to Watch, and by Deadline Hollywood in 2012 as one of the Top Ten Producers to Watch at Sundance.Berman produced Nate Parker's The Birth of a Nation, starring Parker, Armie Hammer, Jackie Earle Haley, Gabrielle Union, and Penelope Ann Miller, about the true life story of Nat Turner's slave rebellion. The Birth of a Nation premiered in the U.S. Dramatic Competition at the 2016 Sundance Film Festival. - WikipediaAll of these Sundance Series episodes are co-produced by Sebastian Twardosz from Circus Road Films and Media Circus.Right click here to download the MP3Download on iTunes DirectLINKS AND RESOURCES MENTIONED IN THIS EPISODEMandalay PicturesJason Michael Berman - IMDBSebastian TwardoszCircus Road FilmsMedia Circus PRSPONSORSDirecting Actors Master Course – (30% OFF – CODE: HUSTLE)Get Your Film on Netflix, Hulu & Amazon & Keep 100% off the Revenue - DistribberHollywood Camera Work: Mastering High-End Blocking and Staging (30% OFF – CODE: HUSTLE)Aaron Sorkin Screenwriting Master ClassHans Zimmer Film Scoring MasterClassKevin Spacey Acting Master ClassFreeFilmBook.com (Download Your FREE Filmmaking Audio Book)KILLER RESOURCES!!!INDIE FILM SYNDICATE Filmmaking CommunityBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.