What if the greatest stories of our lives are the ones we never meant to write? On today’s episode, we welcome Steven Bernstein, a man whose journey through the world of cinema has been anything but predictable. A writer at heart, a cinematographer by accident, and a director by destiny, his career is a living testament to the art of surrendering to the unknown. From his early days at the BBC to the sets of Hollywood blockbusters, his story unfolds like an unplanned masterpiece—one that ultimately brought him full circle, back to the thing he always loved: writing.In this profound conversation, Steven Bernstein recounts his journey from philosophy student to award-winning cinematographer, where his love of storytelling found an unexpected home behind the lens. He speaks of the curious ways life moves us, sometimes against our best-laid plans. “You tend to go with those things that are providing you income,” he muses, reflecting on how a passion for writing gave way to cinematography, leading him to films like Monster, Like Water for Chocolate, and Scary Movie 2. Yet, even as he shaped light and shadow for some of cinema’s most striking images, the writer within him never faded.There is an undeniable poetry in the way Bernstein describes his work. He doesn’t just shoot a film; he composes it, layering meaning through framing, movement, and light. Every choice—a dolly push, a backlight, an asymmetrical composition—whispers something to the audience. It’s a language beyond words, one that he speaks fluently. “Everything to do with film is a language,” he explains. “And like any language, it’s made up of two parts: that which we present and that which we mean.”His journey back to writing was not an easy one. After years of crafting imagery for others, he took a leap into directing his own films, starting with Decoding Annie Parker.

It was a lesson in risk and resilience. At one point, he spent five years in poverty, refusing to return to the safety of cinematography. “If you hold out for the dream, maybe you achieve it,” he says. It is a stark reminder that the artist’s path is often one of sacrifice, but those who persist find themselves richer in ways beyond money.Yet, Bernstein also understands the tension between art and commerce. Filmmaking is an expensive endeavor, and investors want guarantees. He describes the struggle of balancing creative vision with financial expectations, a dance between inspiration and limitation. And yet, some of the greatest filmmakers—Terry Malick, the Coen Brothers, Charlie Kaufman—have defied convention, proving that the most resonant stories often break the rules.The conversation moves to the nature of collaboration, the unspoken alchemy that happens on a film set when everyone is in sync. He recalls moments from Monster, where the crew, sensing the gravity of a scene, chose to remain completely silent, whispering only when necessary. It was an unspoken agreement, an offering to the art being created. “It was one of the most magical moments I remember in any film I’ve ever worked on,” he recalls. It is a glimpse into the rare, sacred spaces where true storytelling happens—not in the scripts, but in the spaces between them.

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On today's episode, we welcome Matthew T. Burns, an individual who embodies resilience, creativity, and reinvention. Known to wrestling fans as "Sick Nick Mondo," Matthew has transitioned from his legendary career in ultraviolent wrestling to become a filmmaker, storyteller, and advocate for the art of storytelling. His journey is nothing short of a profound odyssey, weaving together themes of passion, pain, and redemption.The conversation begins with an exploration of Matthew’s early days in professional wrestling. Growing up in Pennsylvania, he was drawn to the raw, unfiltered world of ECW wrestling—a stage of audacity and grit that mirrored his burgeoning desire to push boundaries. This rebellious spirit carried him into the extreme realm of deathmatch wrestling, where stunts with glass, barbed wire, and even weed whackers became his calling card. Yet, this wasn’t just about shock value; as Matthew shared, "In the chaos of the ring, I found a strange, unrelenting clarity."

Matthew’s career in wrestling, however, wasn’t without consequence. A pivotal moment came during a deathmatch tournament where a dangerous stunt left him severely injured. Despite his physical and emotional scars, he chose to leave wrestling on his own terms, marking the beginning of a profound personal transformation. Wrestling may have been his proving ground, but storytelling became his sanctuary.This shift led Matthew to pursue filmmaking, where he channeled his experiences into his debut film, The Trade. A blend of documentary and scripted storytelling, the film delves into his wrestling career and the connection he shares with Rory, a younger wrestler who idolized him and even adopted his persona in the ring. Their shared journey—a mix of admiration, mentorship, and cautionary wisdom—forms the emotional core of the project. Reflecting on this, Matthew remarked, “I never wanted my story to become someone else’s pain.”As the conversation unfolds, Matthew reflects on his time in Japan, where he immersed himself in the film industry.

He shares the highs and lows of navigating a foreign culture while honing his craft, emphasizing the importance of adaptability and perseverance. From acting roles to operating cameras, Matthew’s journey in Japan became a crucible for refining his artistic vision.Now back in the United States, Matthew’s focus is on bringing The Trade to broader audiences while exploring new creative ventures. He’s brimming with optimism and gratitude for the lessons learned along the way. “Every chapter,” he says, “teaches us something vital about the next.

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On today's episode, we welcome Jim Wynorski, a filmmaker whose career is a kaleidoscope of genres, relentless creativity, and a staggering portfolio of over 160 films. Known for his ability to churn out projects with unmatched efficiency, Jim's journey through the cinematic landscape is nothing short of fascinating. From cult classics like Chopping Mall to unexpected forays into family-friendly territory, his career offers insights into filmmaking’s raw, unpolished edges.In this conversation, Jim Wynorski shares the story of how he transitioned from directing commercials in New York to working under the legendary Roger Corman in Hollywood. "I packed up my stuff in a car and drove across the country. I struggled for a few years doing anything I could, and eventually, my scripts got into the right hands," Jim says. It’s a tale of grit and determination, emblematic of the relentless pursuit of dreams that fuels so many creative spirits.Jim's approach to filmmaking is a study in versatility. Whether crafting low-budget horror or light-hearted family films, he has always been deeply attuned to audience preferences. He reflects on this ability, explaining how understanding the marketplace keeps him relevant. "You don't make a movie for yourself; you make it for the audience. If you don’t, it’s not going to sell," he advises, underscoring the pragmatism that has defined his work ethic.

The discussion takes a humorous turn when Jim recounts some of the challenges of working with temperamental actors, including notorious on-set dramas. While he speaks fondly of most collaborators, a few experiences left lasting impressions. "Robert Culp, who I loved as a kid, was a prick and a half. He complained about everything—from the lenses to the meals. The entire crew booed him on his last day!" Jim laughs, offering a behind-the-scenes glimpse into the human side of filmmaking.But Jim isn't only about business and conflict—his passion for storytelling shines when discussing his favorite films and the joy of working in diverse genres. From the fantastical to the comedic, his projects reflect a deep curiosity about the possibilities of cinema.

"Each film took me to new places, both literally and creatively," Jim recalls, noting how travel and novelty kept the work exciting even during grueling production schedules.He also touches on the changing dynamics of the film industry, particularly the impact of digital platforms and the decline of physical media. Ever adaptable, Jim explains how these shifts inspired him to pivot from horror to family films, seizing opportunities in a dwindling DVD market. "I walked into Walmart, saw family films selling well, and decided to make one about a dog and Christmas," he says. The resulting success is a testament to his knack for spotting trends and evolving with the times.

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Brendan McCarthy studied Painting and Film at Chelsea school of Art under the celebrated British Pop Artist Patrick Caulfield.Brendan is one of the UK's most gifted graphic novelists. His ground-breaking comics of the early 80s (Strange Days, Skin, Rogan Gosh) as part of 'The British Invasion' paved the way for comics’ increasing popularity in Hollywood.

He was also one of the pioneers of computer animation, creating the visuals for the 90s computer animated TV series ReBoot, the first long-form digital narrative that preceded Pixar and Dreamworks' later successes. He has spent more than 20 years working in Hollywood, and is the co-writer and a designer on Mad Max Fury Road.More recently, Brendan has created new graphic novels including Spider-Man Fever (for Marvel), Solo (for DC Comics) and Swimini Purpose, The Zaucer of Zilk and Dream Gang for independent US publishers. A best-selling retrospective collection of his classic comic book work was released last year, The Best of Milligan & McCarthy.

Enjoy your journey into the mind of Brendan McCarthy.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

In the male-dominated world of Hollywood, Susannah Grant has emerged as a powerful force, breaking barriers and reshaping the landscape of screenwriting. With her unique storytelling abilities and uncompromising vision, Grant has become a trailblazer, paving the way for women in the film industry.

Born on January 4, 1963, in New York City, Grant developed a passion for storytelling at a young age. She attended Amherst College, where she studied English and received her Bachelor of Arts degree. Grant's love for writing and storytelling drove her to pursue a career in screenwriting, and she enrolled in the prestigious American Film Institute in Los Angeles.

Grant's breakthrough moment came in 1995 when she wrote the screenplay for the critically acclaimed film, "Pocahontas." Her heartfelt and emotionally resonant script earned her widespread recognition, including an Academy Award nomination for Best Adapted Screenplay. This achievement placed Grant in an elite category, as she became one of the few women to receive such recognition in the film industry.However, it was her work on the film "Erin Brockovich" in 2000 that solidified her position as a groundbreaking screenwriter. Grant's masterful script, based on a true story, portrayed the journey of Erin Brockovich, a determined legal assistant who takes on a corporate giant. The film, directed by Steven Soderbergh and starring Julia Roberts, became a critical and commercial success, earning Grant her second Academy Award nomination.Grant's screenwriting prowess lies in her ability to tell stories that resonate deeply with audiences. Her characters are flawed, complex, and relatable, capturing the essence of the human experience.

Whether it's exploring themes of justice, resilience, or personal growth, Grant's writing delves into the core of the human condition, leaving a lasting impact on viewers.Beyond her skillful storytelling, Grant's contribution to the industry extends to her advocacy for women in film. She has been a vocal supporter of gender equality and has actively fought against the gender disparity that exists within the industry. Grant believes in creating opportunities for female filmmakers and has mentored and championed aspiring women writers, directors, and producers, encouraging them to tell their stories and make their mark in Hollywood.In addition to her screenwriting work, Grant has ventured into directing. In 2007, she made her directorial debut with the film "Catch and Release," which she also wrote. While the film received mixed reviews, it showcased Grant's versatility as a storyteller and her willingness to take creative risks.Grant's impact on the film industry cannot be overstated.

Through her groundbreaking work and unwavering commitment to her craft, she has inspired a new generation of female storytellers, empowering them to shatter the glass ceiling and claim their rightful place in the world of cinema.As the landscape of Hollywood continues to evolve, Susannah Grant remains a steadfast figure, pushing boundaries, challenging conventions, and amplifying the voices of underrepresented communities. Her dedication to storytelling and advocacy serves as a guiding light, reminding us of the transformative power of cinema and the importance of diverse perspectives.In a time when the call for inclusivity and gender equality is louder than ever, Susannah Grant's legacy stands as a testament to the strength, resilience, and creativity of women in film. Through her remarkable career, she has proven that a powerful story knows no gender and that the talent and passion of women in the industry are indispensable. Susannah Grant's impact will continue to be felt for generations to come as she paves the way for a more inclusive and representative film industry.

Please enjoy my conversation with Susannah Grant.




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Jim Uhls is an American screenwriter best known for his work on the iconic film "Fight Club." Born in 1951 in the United States, Uhls began his career in the entertainment industry as a script reader and development executive. He worked his way up the ranks, honing his skills as a writer and developing a reputation for his unique voice and style.Uhls' big break came in the late 1990s when he was approached to adapt Chuck Palahniuk's novel "Fight Club" for the big screen.

The project was seen as a risky and unconventional choice, but Uhls was drawn to the dark and satirical tone of the book, as well as its themes of individuality and rebellion.[presto_player id=155007]Working with director David Fincher, Uhls approached the writing process for "Fight Club" with a focus on staying true to the spirit of the novel while also adapting it for the screen. He spent months researching and studying the novel, immersing himself in the characters' world and exploring the story's deeper themes and meanings.One of the biggest challenges of adapting "Fight Club" for the screen was finding a way to translate the unconventional and fragmented structure of the novel into a cohesive and compelling film.

To achieve this, Uhls worked closely with Fincher to develop a visual and narrative style that would capture the book's spirit while making it accessible to a wider audience.Uhls' hard work and dedication resulted in a film that was both a critical and commercial success. "Fight Club" was praised for its bold and innovative style, darkly humorous tone, and powerful themes of individuality and rebellion. The film has since become a cult classic, and Uhls' screenplay is widely regarded as one of the best adaptations of a novel to the screen.In addition to his work on "Fight Club," Uhls has also written and produced several other successful films and television shows. Despite his success, he remains humble and dedicated to his craft, always striving to push the boundaries of storytelling and create unique and impactful works of art.

Overall, Jim Uhls is a talented and innovative writer who has significantly impacted the entertainment industry. His approach to the writing process, which emphasizes research, dedication, and a deep understanding of the source material, has earned him a reputation as one of the best screenwriters of his generation.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

George Stevens, Jr. has achieved an extraordinary creative legacy over a career spanning more than 60 years. He is a writer, director, producer, playwright and author. He has enriched the film and television arts as a filmmaker and is widely credited with bringing style and taste to the national television events he has conceived.As a writer, director and producer, Stevens has earned many accolades, including 15 Emmys, two Peabody Awards for Meritorious Service to Broadcasting, the Humanitas Prize and 8 awards from the Writers Guild of America, including the Paul Selvin Award for writing that embodies civil rights and liberties.

In 2012 the Board of Governors of the Academy of Motion Picture Arts and Sciences voted to present Stevens with an Honorary Academy Award for “extraordinary distinction in lifetime achievement.”Stevens served for eight years as Co-chairman of the President’s Committee on the Arts and Humanities following his appointment by President Obama in 2009.Stevens is Founding Director of the American Film Institute and during his tenure, more than 10,000 irreplaceable American films were preserved and catalogued to be enjoyed by future generations. In addition, he established the AFI’s Center for Advanced Film Studies, which gained a reputation as the finest learning opportunity for young filmmakers.Stevens was executive producer of The Thin Red Line, which was nominated for seven Academy Awards, including Best Picture. He co-wrote and produced The Murder of Mary Phagan, starring Jack Lemmon, which received the Emmy for Outstanding Mini-Series.

He wrote and directed Separate But Equal starring Sidney Poitier and Burt Lancaster which also won the Emmy for Outstanding Mini-Series. He produced an acclaimed feature length film about his father, George Stevens: A Filmmaker’s Journey and in 1994 produced George Stevens: D-Day to Berlin, which depicted the wartime experiences of his father – one of the most highly regarded directors of all time. In collaboration with his son and partner Michael Stevens, he produced the feature length documentary Herblock – The Black & The White on the famed political cartoonist Herbert Block for HBO.Stevens made his debut as a playwright in 2008 with Thurgood, which opened at the historic Booth Theater on Broadway. The play had an extended run starring Laurence Fishburne as Supreme Court Justice Thurgood Marshall. Fishburne received a Tony nomination and returned to the role in the summer of 2010 with runs at the Kennedy Center and the Geffen Playhouse in Los Angeles.

Thurgood was filmed while at the Kennedy Center and shown on HBO in 2011.In 2006, Alfred A. Knopf published Stevens’ Conversations with the Great Moviemakers of Hollywood’s Golden Age – the first book to bring together the interviews of master moviemakers from the American Film Institute’s renowned Harold Lloyd Master Seminar Series. Conversations with the Great Moviemakers – The Next Generation was released by Knopf in April, 2012.

Please enjoy my conversation with George Stevens Jr.

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Pat McGowan is a longtime Film & Video Creator from Ottawa, Canada. As with many in the “biz”, his career started as a musician, moved into audio post and then into directing, producing, shooting and editing. Until recently Pat was the owner/operator of inMotion.ca, a video production company in Ottawa & Toronto. Pat has a passion for wildlife videography and can be found in the Canadian Arctic looking for Polar bears, Narwhals, and Bowhead Whales.

After a successful career spanning over two decades, Pat had an epiphany, and that led to the idea and creation of BlackBox Global. He wants nothing less than to change the relationships that creators have with each other and the global market so they can have better lives. He invites his fellow film & video peeps to join BlackBox and make the world a place where creators can be free to do what they love, own the content they make, and be fairly compensated.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Jeremy Gardner is an American actor, writer, and director known for his work in the independent horror film "The Battery." He wrote, directed, and starred in the movie, which was released in 2012.

"The Battery" is a post-apocalyptic zombie film that gained critical acclaim for its character-driven approach and low-budget yet effective storytelling. Since then, Jeremy Gardner has continued to work in the film industry, both in front of and behind the camera.

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Today on the show we have former studio executive turned screenwriting teacher and screenplay consultant Naomi Beaty. She is essentially an on-call development partner to screenwriters, producers, and directors at all levels. From those just starting out, to those firmly established and working in the industry today.

She lived and worked in L.A. for over a decade, read thousands of scripts, and worked with hundreds of writers through one-on-one consulting, creating the Idea to Outline workshop, and teaching story structure for Save the Cat. I’ve worked with producers internationally and consulted on the 2016 Raindance Film Festival “Indie Film of the Year” winner, Selling Isobel.As a former development exec-in-training at Madonna and Guy Oseary’s Maverick Films, she worked on projects like Twilight, Percy Jackson and the Lightning Thief, and The Stanford Prison Experiment.

In this episode, we get into the weeds about mistakes screenwriters make and what studios are looking for.

Enjoy my talk with Naomi Beaty.

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The craft of filmmaking is as much about the soul as it is about the frame. In today's conversation, we sit down with Kansas Bowling, a maverick filmmaker who began charting her creative course at just 17 years old. As the first graduate of the Troma Institute for the Gifted, Kansas burst onto the scene with her debut feature, B.C. Butcher, a cavewoman slasher filmed on 16mm. From that bold beginning, her journey has only intensified, guided by a vision both rebellious and deeply personal.Kansas embodies the heart of artistic defiance, carving her path outside the confines of conventional education.

"I thought it would be easier to just make a movie than go to film school," she reflects, and her success vindicates her instincts. Her philosophy is one of doing: creating without overthinking, trusting her voice, and stepping into the arena without waiting for permission. Her work ethic shines through her portfolio, from feature films to over 20 music videos, all captured on her beloved 16mm film.Kansas opens a window into her creative process. For her, filmmaking is as much about confidence as it is about technical skill. "Directing is just telling people what you want to see. Everything else, you can learn along the way." This candid wisdom is refreshing, cutting through the mystique often associated with creative mastery.

With humor and humility, she explains her preference for shooting on film, emphasizing its "timeless look" that digital can never replicate.Despite the beauty of her craft, Kansas has faced challenges that mirror the rawness of her stories. From navigating the loss of her Instagram account due to a controversial post, to fielding inappropriate offers as a female filmmaker, she moves forward with resilience. "People always send me horrible scripts where the whole thing is just a giant sex scene," she shares, laughing off the absurdity. Yet, she balances these experiences with genuine collaborations, such as her role in The Electra Complex, a project she describes as "the most well-written screenplay I've ever read."When asked about her influences, Kansas rattles off a list of cinematic gems: F for Fake by Orson Welles, Midnight Cowboy, and the Italian classic Don't Torture a Duckling. These films, she notes, have a unique authenticity—a quality she strives to infuse in her own work.

For Kansas, filmmaking isn’t about mimicking others; it’s about harnessing inspiration while remaining true to her distinctive voice.As she wraps up production on her second feature, Kansas is also directing multiple music videos, preparing for a shoot in Miami, and starring in a major project. Her days are packed, yet her focus remains sharp. The secret to her productivity? She simply follows her passion. "If you see a film in your head, just go out and make it," she advises, encouraging budding creatives to trust their instincts and take action.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

David Allen is a productivity consultant and the author of the book "Getting Things Done: The Art of Stress-Free Productivity." He is widely recognized for his expertise in personal and organizational productivity and has developed the GTD (Getting Things Done) methodology.

In his book, "Getting Things Done," Allen presents a system for managing and organizing tasks and projects to increase productivity and reduce stress. The GTD methodology focuses on capturing all tasks and commitments into an external system, clarifying their meaning and desired outcomes, organizing them effectively, reviewing and updating regularly, and taking appropriate actions. The book has gained significant popularity and has become a widely implemented system for personal and professional productivity.

David Allen has been involved in coaching, training, and consulting with various individuals and organizations, including Fortune 500 companies and government agencies. He continues to speak and conduct workshops on productivity and personal development, sharing his insights and strategies to help individuals and teams enhance their effectiveness and achieve their goals.

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Today on the show, we have storytelling guru John Bucher, who is a renowned strategist, communicator, and cultural mythologist based out of Hollywood, California. Disruptor named him one of the top 25 influencers in Virtual Reality in 2018.

“John Bucher is an influencer. He’s one of our most prolific contributors.” — HBO

He is the author of six books, including the best-selling Storytelling for Virtual Reality, named by BookAuthority as one of the best storytelling books of all time. John has worked with companies including HBO, DC Comics, The History Channel, A24 Films, and The John Maxwell Leadership Foundation and served as a consultant and writer for numerous film, television, and Virtual Reality projects. Currently, he teaches writing and story courses as part of the Joseph Campbell Writers Room at Studio School in Los Angeles and at the LA Film Studies Center. He has spoken on five continents about using the power of story to reframe how products, individuals, organizations, cultures, and nations are viewed.

John is a prolific writer.

STORYTELLING FOR VIRTUAL REALITY
Storytelling for Virtual Reality serves as a bridge between students of new media and professionals working between the emerging world of VR technology and the art form of classical storytelling. Rather than examining purely the technical, the text focuses on the narrative and how stories can best be structured, created, and then told in virtual immersive spaces. Author John Bucher examines the timeless principles of storytelling and how they are being applied, transformed, and transcended in Virtual Reality. Interviews, conversations, and case studies with both pioneers and innovators in VR storytelling are featured, including industry leaders at LucasFilm, 20th Century Fox, Oculus, Insomniac Games, and Google.

A BEST PRACTICE GUIDE TO SEX AND STORYTELLING
A great deal of storytelling in film and television involves narratives that include sexual situations and nudity. The increased amount of online and streaming content outlets has, in turn, increased the number of narratives that involve these once-taboo subjects. Often, even though directors and producers desire to handle such issues with professionalism, sets become awkward when producing these scenes. A Best Practice Guide to Sex and Storytelling serves as a helpful tool for guiding creators through these waters.

MASTER OF THE CINEMATIC UNIVERSE
Master of the Cinematic Universe is a guide to the future of transmedia storytelling. Content creators of every flavor are constantly needing to expand the mediums they can work in. This volume serves as a resource for using the timeless truths of story structure to craft established as well as up-and-coming short-form media formats.

STORYTELLING BY THE NUMBERS
Storytelling By The Numbers is a collection of essays and articles that John Bucher has written for LA Screenwriter and a variety of other outlets. All are meant to strengthen storytellers and scriptwriters. Bucher examines trends and tropes found in current film and television and uses these examples to demonstrate how and why they work as storytelling devices. Writers from any genre, working with any type of narrative, can find jewels of wisdom and applicable nuggets for their own ideas. The collection also features ten powerful writing prompts to assist writers in creating or developing a script idea from a single character.

Enjoy my conversation with John Bucher.

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Eric England is an American film director, writer, and producer. He is best known for his work in the horror genre, particularly for his 2013 film "Contracted." The film follows a young woman who contracts a mysterious sexually transmitted disease that begins to ravage her body in horrifying ways.

In addition to "Contracted," England has directed several other horror films, including "Madison County" and "Josie." He has also directed episodes of the television series "Surviving Jack" and "The Rookie." England's work often explores themes of isolation, psychological trauma, and bodily horror, and he is known for his stylish visual approach to genre filmmaking.

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Today on the show we have screenwriter, Michael Lucker. Michael is a writer, director, and producer with twenty years of experience creating film, television, animation and digital media. He began his career writing and directing television commercials while earning his undergraduate degree in broadcasting and film at Boston University’s College of Communication.Soon after he landed in Los Angeles working in production on series and specials for ABC, NBC, CBS and HBO before taking a job as assistant to Steven Spielberg at Amblin Entertainment on feature films Indiana Jones & the Last Crusade, Arachnophobia, Joe Vs. The Volcano, Always, Back To The Future II & III and Jurassic Park.

He went onto serve in creative affairs at Hollywood Pictures where he worked on such movies as Crimson Tide, Terminal Velocity, Taking Care of Business and Straight Talk. Michael then embarked on a career as a screenwriter, helping pen more than twenty feature screenplays for Paramount, Disney, DreamWorks, Fox, and Universal, including Vampire In Brooklyn, Home On The Range, Good Intentions and Spirit: Stallion of the Cimarron, which was nominated for an Academy Award in 2002 as best animated feature.“You don’t have to be a writer of action films to benefit from Michael Lucker’s rock-solid screenwriting advice, but if you are an action writer… it is essential.” — John Baldecchi, Producer: Point Break, The Mexican, Conan the BarbarianHe also served as screenwriter on the animated sequels to Mulan, Lilo & Stitch, Emperor’s New Groove and 101 Dalmatians. An opportunity to serve as a creative consultant to Turner Entertainment took him home to Atlanta in 2007.

He went onto work as a writer, director and executive producer with non-fiction production houses Encyclomedia, Shed Media, Crazy Legs Productions and Trailblazer Studios before launching his own production company, Lucky Dog Filmworks, which now serves as his home for creating film, television, and commercial content. In television, Michael has worked with Animal Planet, Cartoon Network, Travel Channel, History, Discovery, NBC, TBS, TLC, OWN, DIY, MSNBC, and A&E.

His new book Crash! Boom! Bang! How to Write Action Movies. A fun, insightful insider’s look at the nuts and bolts of writing action movies, from concept to completion, by a professional screenwriter and professor of screenwriting. Full of witty anecdotes from the front lines (and tricks of the trade from between the lines), Crash! Boom! Bang! promises an enjoyable and educational read for writers and students of all levels. Although bullets and bloodshed abound in cinema, the lessons within will benefit screenwriters of all kinds of movies.

Enjoy my conversation with Michael Lucker.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

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Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered. That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).

Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy. Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.

Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.[presto_player id=154943]Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute.

Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.

Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.

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Today's guest is a filmmaker and Filmtrepreneur Michael Gallagher. Michael is one of the co-founders of Makers Studio. Makers Studios was the largest independent YouTube network in history. YouTube channels under Maker Studios have also collectively earned over 90 million subscribers and accumulated over 1.1 billion views monthly. On March 24, 2014, Maker Studios, Inc. agreed to sell itself to The Walt Disney Company for $500 million, rising to $950 million if financial milestones were met.

Michael has leveraged his success as a YouTube filmmaker to become a full-blown feature film director. His latest film is Funny Story, a dramedy about a well-intentioned father who inadvertently wreaks havoc on the life of his estranged daughter when she invites him to her woodland wedding. Michael went on to direct smash hit films on Youtube like The Thinning Series and InstaFamous. He talks about the big mistakes he made distributing his first feature film Smiley, self-marketing his films, and lessons learned from building an audience on YouTube.

Enjoy my conversation with Michael Gallagher.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

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Daniel Stamm was born and raised in Hamburg, Germany, where as a teenager he was host of a radio show and editor of a youth magazine. He toured with a theater, studied drama and published a play before he went to Belfast, Northern Ireland, as a peace worker. Two years later he returned to Germany to go to film school and study screenwriting at the Filmakademie Baden-Wuerttemberg in Ludwigsburg. He wrote a TV movie which got nominated for Germany's most prestigious media award and directed a documentary on rock musician Nick Cave.Daniel moved to Los Angeles and graduated from the American Film Institute's directing program.

His thesis film got nominated for the ASC award. In the following three years he made short films, wrote songs for local singers, sat on a film festival jury in Kosovo, became a certified hypnotist and hitch-hiked across the US. In 2008 Daniel's first feature film, 'A Necessary Death', premiered at SXSW in Austin, Texas, before winning the audience award at AFI Fest later the same year. His second feature, 'The Last Exorcism', premiered at the Los Angeles Film Fest in 2010, was distributed by Lionsgate and grossed over $65million worldwide. The film and/or its actors got nominated for the People's Choice Award, two Independent Spirit Awards and an MTV Movie Award. It won an Empire Award as well as awards in Sitges and Toronto.

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In today’s episode, we welcome the brilliant comedic minds behind Chasing Molly: Shelley Pack and Josh Sutherland. Together, they share the odyssey of making an independent film from scratch, driven by pure creativity and an unwavering dedication to laughter and storytelling. Their journey is not just one of filmmaking but of persistence, grit, and a desire to carve a unique voice in the comedy genre.

Shelley Pack brings her background as a comedian and improv performer, skillfully assembling a cast of friends and acquaintances to breathe life into Chasing Molly. With no big studios or massive budgets, Shelley and Josh poured their souls into the project. "It was liberating to create something genuinely funny without restrictions," Shelley reflects, highlighting how the freedom of independent filmmaking allowed her to maintain the authenticity of the comedy.

On the other side, Josh Sutherland recounts his journey from a kid with a camcorder to a professional in Hollywood, working every possible crew position to understand the art and science of film. A student of cinema at the University of Texas, Josh entered the world of visual effects, gaining firsthand knowledge in various roles. When the opportunity arose to collaborate on Chasing Molly, Josh brought not only technical expertise but also a lifelong passion. "Filmmaking is a huge, huge team sport," he explains, underscoring the communal effort that went into producing the film.One memorable anecdote shared by Shelley and Josh is the challenge of shooting in a real pawn shop while it was open to the public. With customers oblivious to the filming, Shelley describes an eccentric woman examining items with a magnifying glass, fully engrossed in her shopping while the crew scrambled to finish the scene before sundown. Such improvisational moments added authenticity to the film, revealing the beauty and chaos of guerilla-style filmmaking.Shelley also speaks about the “Zen Cholo,” a character who emerged through social media sleuthing. Shelley found “Scar,” a YouTube personality with a massive social following, whose calm demeanor brought unexpected depth to the role of a gang leader. This resourcefulness in casting enabled the team to create a distinctive character who, as Shelley notes, is “like a Buddha with street cred,” adding unique charm to the film.

In the end, Chasing Molly is more than a film; it’s a testament to the idea that with a vision, a supportive crew, and a refusal to take “no” for an answer, anything is possible. As Josh says, “We set ourselves up to win,” and that victory is felt in every scene of this indie gem

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Today's guest is a screenwriter, director, professor, and Secretary-Treasurer of the Writers Guild of America West Aaron Mendelsohn. He is best known for co-creating and co-writing the successful AIR BUD family film franchise, which sired eleven sequels and generated millions of dollars over the years. If you have kids then you probably already have seen an Air Bud spin-off film.

Aaron has a number of projects in development including the drama pilot BAD MEDICINE with ITV America and the action-comedy ARMOR HERO with Alpha Pictures. His romantic comedy LIKE CATS & DOGS aired recently on the Hallmark Channel. He recently wrote the animated feature PRINCES for Warner Bros, the drama pilot THE ASSOCIATE for Sony, and the animated pilot HOODS for Cartoon Network.Other produced projects include the perennial ABC Family holiday movie THE 12 DATES OF CHRISTMAS, the Lifetime TV movie CHANGE OF HEART, the Fox TV series KINDRED: THE EMBRACED, the kid's TV pilot THE ADVENTURES OF TAXI DOG, the family feature THE THREE INVESTIGATORS: THE SECRET OF TERROR CASTLE, and the independent feature CHAPTER ZERO, which he also directed.

Aaron has also written film and TV projects for Fox, New Line, Showtime, Paramount, the Spike Network, New Regency, Hasbro Studios, Bob Yari, Lightstorm, and Arnold Kopelson.Twenty years into a successful screenwriting career and he still loses his way in the thickets of story-breaking and script-writing. Aaron assembled The 11 Fundamental Questions: A Guide to a Better Screenplayto help guide his path, and they've been his road map ever since."This is a VERY smart way to deconstruct and demystify the job of screenwriting." – Billy Ray, Oscar-nominated screenwriter of "Captain Phillips"Starting out as a personal story-breaking method and evolving into a masterclass that Aaron has taught around the world, THE 11 FUNDAMENTAL QUESTIONS is now an ebook (newly revised and expanded for Amazon/Kindle) that shares the secrets of his successful technique. Simple and intuitive, each question in the book is strategically designed to elicit key story points, challenge lazy writing, and stimulate ideas.Wherever you are in the writing process, and whether you're writing for film, television, new media, or books, asking yourself the 11 FUNDAMENTAL QUESTIONS is a great way to enhance your creative process and sell more projects.

This is a fun episode. Get ready to take some notes. Enjoy my conversation with Aaron Mendelsohn.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.


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Rob Edwards has written two classic animated films for WALT DISNEY FEATURE ANIMATION, the Academy Award nominated Treasure Planet and the Academy Award and Golden Globe nominated The Princess and the Frog. He also consulted on Tangled, Wreck-it Ralph and Frozen. He penned AMULET for Warner Brother's and ANIMATED AMERICAN for Disney.

Rob is currently writing projects for SHOWTIME, SONY, PARAMOUNT, and Chris Rock. Rob is also known for his work on the television shows "The Fresh Prince of Bel-Air", "Full House", "A Different World", "Roc", "In Living Color" and as the creator of "Out All Night." In 2012, Rob launched robedwards.net where he shares the tools he has developed over 30 years of writing professionally. He has taught and/or lectured for UCLA, Tisch School of the Arts at NYU, Syracuse University, Boston University, Howard University, The Organization of Black Screenwriters, CTN Expo, LMU, Digital Hollywood, The Scriptwriters Network, The Writers Store, University of California Riverside, Le Moyne College and others.

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Today on the show we have the showrunning writing duo of Dan Hernandez and Benji Samit. They are responsible for bring iconic character Pikachu to the big screen. The film starred Ryan Reynolds.

Ace detective Harry Goodman goes mysteriously missing, prompting his 21-year-old son, Tim, to find out what happened. Aiding in the investigation is Harry's former Pokémon partner, wise-cracking, adorable super-sleuth Detective Pikachu. Finding that they are uniquely equipped to work together, as Tim is the only human who can talk with Pikachu, they join forces to unravel the tangled mystery.Easily one of my favorite projects they worked on is the Netflix show One Day at a Time. On that project they got to work with the television living legend Norman Lear.

This comedy-drama is inspired by Norman Lear's 1975 series of the same name. This time around, the series follows the life of Penelope, a newly single Army veteran, and her Cuban-American family, as they navigate the ups and downs of life. Now a nurse, Penelope is raising two strong-willed children.When faced with challenges, Penelope turns to her "old-school" mother, and her building manager, who has become an invaluable confidant. The series offers a contemporary take on what life looks like in both good and bad times, and how loved ones can help make it all worthwhile.

On television, Hernandez and Samit have written for, The Tick, Super Fun Night and 1600 Penn. They were named in Paste Magazine's list of the top 28 comedy writers of 2018. In 2019, Samit and Hernandez signed a long-term deal with 20th Century Fox Television to develop, write and produce animated and live-action seriesWe discussed how they got their big break, how they approach the craft, the world of the writer's room and much more.

Enjoy my conversation with Dan Hernandez and Benji Samit.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Danny Draven is an award-winning director and producer of genre films. After receiving his film degree in Boston, he moved to Hollywood and worked his way up through the ranks until he began producing and directing sci-fi/horror films for genre studio Full Moon Pictures (Puppet Master series, Trancers) where he cut his teeth before starting his own successful production/post-production company. He has also edited over 100 feature films, including films for Lionsgate, NBC Universal's Chiller TV, SyFy Channel and a series for Lifetime Network TV.

He has worked with and been mentored by Hollywood veterans such as Master of Horror Stuart Gordon (Fortress, Re-Animator), legendary cinematographer Mac Ahlberg (Beverly Hills Cop 3), executive producer Harry Bring (X-Files, Criminal Minds) and executive producer Mark Ordesky (Lord of the Rings Trilogy). He is also the author of three published books on genre filmmaking and a member of the Producers Guild of America

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Today's guest is writer and showrunner, Daniel Knauf. Daniel Knauf had a couple of small credits to his name—a TV movie here, a stint on Wolf Lake there—when he managed to sell the intricate Great Depression-era genre show Carnivale to HBO.

The series, an intricate blend of meticulously researched period detail and secret-history fantasy, purported to tell the tale of what happened when the last two “Avatars”—superpowered beings of light and darkness—met in the United States on the eve of World War II. The series attracted a cult audience that remains devoted to this day, but a mass audience wasn’t sure what to make of the program, and HBO canceled it after two seasons, saying the show’s story was finished, in spite of Knauf’s plan for a six-season run.

We go deep inside the writer's room, what it takes to be a showrunner and many of his misadventures in Hollyweird!

Enjoy my conversation with Daniel Knauf.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.


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Roger William Corman was born April 5, 1926, in Detroit, Michigan. Initially following in his father's footsteps, Corman studied engineering at Stanford University but while in school, he began to lose interest in the profession and developed a growing passion for film. Upon graduation, he worked a total of three days as an engineer at US Electrical Motors, which cemented his growing realization that engineering wasn't for him. He quit and took a job as a messenger for 20th Century Fox, eventually rising to the position of story analyst.After a term spent studying modern English literature at England's Oxford University and a year spent bopping around Europe, Corman returned to the US, intent on becoming a screenwriter/producer.

He sold his first script in 1953, "The House in the Sea," which was eventually filmed and released as Highway Dragnet (1954).

Horrified by the disconnect between his vision for the project and the film that eventually emerged, Corman took his salary from the picture, scraped together a little capital and set himself up as a producer, turning out Monster from the Ocean Floor (1954). Corman used his next picture, The Fast and the Furious (1954), to finagle a multi-picture deal with a fledgling company called American Releasing Corp. (ARC). It would soon change its name to American-International Pictures (AIP) and with Corman as its major talent behind the camera, would become one of the most successful independent studios in cinema history.

With no formal training, Corman first took to the director's chair with Five Guns West (1955) and over the next 15 years directed 53 films, mostly for AIP. He proved himself a master of quick, inexpensive productions, turning out several movies as director and/or producer in each of those years--nine movies in 1957, and nine again in 1958. His personal speed record was set with The Little Shop of Horrors (1960), which he shot in two days and a night.In the early 1960s he began to take on more ambitious projects, gaining a great deal of critical praise (and commercial success) from a series of adaptations of Edgar Allan Poe stories, most of them starring Vincent Price. His film The Intruder (1962) was a serious look at racial integration in the South, starring a very young William Shatner. Critically praised and winning a prize at the Venice Film Festival, the movie became Corman's first--and, for many years, only--commercial flop. He called its failure "the greatest disappointment in my career." As a consequence of the experience, Corman opted to avoid such direct "message" films in the future and resolved to express his social and political concerns beneath the surface of overt entertainments.

Those messages became more radical as the 1960s wound to a close and after AIP began re-editing his films without his knowledge or consent, he left the company, retiring from directing to concentrate on production and distribution through his own newly formed company, New World Pictures. In addition to low-budget exploitation flicks, New World also distributed distinguished art cinema from around the world, becoming the American distributor for the films of Ingmar Bergman, Akira Kurosawa, Federico Fellini, François Truffaut and others. Selling off New World in the 1980s, Corman has continued his work through various companies in the years since--Concorde Pictures, New Horizons, Millenium Pictures, New Concorde. In 1990, after the publication of his biography "How I Made A Hundred Movies in Hollywood And Never Lost A Dime"--one of the all-time great books on filmmaking--he returned to directing but only for a single film, Frankenstein Unbound (1990)With hundreds of movies to his credit, Roger Corman is one of the most prolific producers in the history of the film medium and one of the most successful--in his nearly six decades in the business, only about a dozen of his films have failed to turn a profit. Corman has been dubbed, among other things, "The King of the Cult Film" and "The Pope of Pop Cinema" and his filmography is packed with hundreds of remarkably entertaining films in addition to dozens of genuine cult classics.

Corman has displayed an unrivaled eye for talent over the years--it could almost be said that it would be easier to name the top directors, actors, writers and creators in Hollywood who DIDN'T get their start with him than those who did. Among those he mentored are Francis Ford Coppola, Ron Howard, Martin Scorsese, Jack Nicholson, James Cameron, Robert De Niro, Peter Bogdanovich, Joe Dante and Sandra Bullock. His influence on modern American cinema is almost incalculable. In 2009 he was honored with an Academy Award for Lifetime Achievement.

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Have you ever wondered what it is like screenwriting inside the Marvel and Studio machine? Wonder no further, today we have screenwriter and director Joe Cornish. Joe was one of the writer's on Marvel's Ant-Man. The English comedian and filmmaker burst onto the scene in 2011 with his very successful film directorial debut, Attack The Block, starring John Boyega, who played Moses, a low-level crook, teenage gang leader, an orphan looking for respect around the block. The British sci-fi comedy horror film centers on a teenage street gang who have to defend themselves and their block from predatory alien invaders on Guy Fawkes Night.

Cornish and his comedy partner, Adam Buxton form the successful duo, Adam & Joe an ironic pop culture sketch show which gained a lot of success in the UK alongside Cornish’s long-term work in the UK TV entertainment industry. In 2011 he joined iconic directors, Peter Jackson and Steven Spielberg as a writer for the screenplay and story for the 3D animated action-adventure film, The Adventures of Tintin: The Secret of the Unicorn --- co-written alongside Edgar Wright and Steven Moffat.

Intrepid reporter Tintin and Captain Haddock set off on a treasure hunt for a sunken ship commanded by Haddock's ancestor.This $135 million budget film grossed $374 million at the box office and received a plethora of nominations including Oscars for Best Original Score, a Golden Globe for Best Animated Feature Film, two BAFTA nominations for Best Animated Film and Best Special Visual Effects.Cornish co-wrote the screenplay for the Marvel Comic character, Ant-Man, along with Wright, Adam McKay, and Paul Rudd in 2015.

Rudd, starring as Ant-Man is armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner-hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world. Similar to most Marvel Studio movies, the film carried a big budget of $169.3 million and grossed $519.3 million.His latest film, The Kid Who Would Be King (2019), which was written undirected by Cornish, joins a band of kids who embarks on an epic quest to thwart a medieval menace.

Joe honestly, was extremely forthcoming and transparent about a lot of things; like what really happened behind the scenes on Ant-Man and what it's like to write inside the Marvel machine, working with filmmaking legends like Steven Spielberg and Peter Jackson. And we also discuss his craft, how he approaches screenwriting and directing, and much more.

Enjoy this conversation with Joe Cornish.

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On today's episode, we welcome Jameson Parker, a seasoned producer with roots in theater, who’s climbed the ranks in the world of film and television. As a Development Director at Bright Light Pictures, Jameson has developed a keen eye for projects that align with his passion and resonate with audiences. Starting as an actor, he transitioned to production, taking on the mentorship of industry veteran Sean Williamson, and carving a niche in the independent cinema space.Jameson shares his journey from pursuing theater in Vancouver to becoming a producer with a versatile portfolio, which includes films like Summer of 84 and the Netflix series Julie and the Phantoms. He explains the art of “breaking in” as an evolving process, emphasizing perseverance and the invaluable nature of mentorship in an industry where relationships shape opportunities. In his case, connecting with Sean was pivotal, as it granted him guidance and resources to navigate the challenging waters of production. As he aptly puts it, “There’s an element of perseverance that permeates every success story—banging your head against the wall until the brick cracks.”In our conversation, Jameson reflects on the state of Hollywood’s market-driven focus, where franchises and reboots often overshadow fresh, original stories. He believes true creative fulfillment lies in cultivating unique narratives rather than chasing trends.

He references his experience with Summer of 84, which drew inspiration from classic thrillers and managed to resonate with audiences without the typical industry formulas. Jameson champions the importance of bringing something authentic to the screen, arguing, “If you chase what’s doing well in the marketplace, you’re always going to be behind the eight ball.”For Jameson, networking is less about formal events and more about building meaningful relationships. He recalls his serendipitous meeting with writer Matt Leslie at a networking event, which led to the development of Summer of 84. He stresses that genuine connections often lead to more fruitful collaborations than transactional exchanges. This philosophy has carried him through many projects, as he remains committed to developing authentic connections both on and off set.As the conversation deepens, Jameson delves into the complexities of producing for television versus film. Working with Netflix on Julie and the Phantoms, alongside renowned director Kenny Ortega, has been a “big learning experience” for him. He contrasts this with his independent projects, which allow for more creative control and hands-on involvement.

The Netflix series exemplifies the evolving landscape of TV production, where platforms like Netflix provide vast opportunities but also introduce unique challenges due to their expansive, competitive nature.Jameson also speaks to the behind-the-scenes challenges producers face, especially in managing large teams on set. From navigating egos to ensuring open communication, he explains how these aspects shape the production experience. He acknowledges that problem-solving in production can feel overwhelming but emphasizes the importance of keeping a calm perspective. “If it can be solved with money, it’s not really a problem,” he says, underscoring his pragmatic approach to navigating production obstacles.In a business defined by collaboration and trust, Jameson has thrived by working with familiar faces, valuing shared experiences over constant change. His career is a testament to the power of resilience, passion, and a deep-seated love for storytelling. As he anticipates his next independent film project, he remains committed to blending his studio experiences with his passion for independent cinema.

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Pat Flynn, the founder of Smart Passive Income (SPI), is a pioneering figure in the world of online business and digital marketing. His success story has inspired countless entrepreneurs to create their own passive income streams, and his educational resources have empowered individuals to achieve financial freedom. In this article, we will explore Pat Flynn's journey, his strategies for success, and the impact of Smart Passive Income on the digital landscape.Pat Flynn's story began in 2008 when he was laid off from his architecture job during the global financial crisis. Facing an uncertain future, Flynn decided to take matters into his own hands and started exploring ways to generate income online.

He initially found success by creating a website called Green Exam Academy, which provided study materials for the LEED exam, an architecture industry certification. The site quickly gained traction, and Flynn realized the potential of passive income as he continued to earn money from the sales of his study materials even while he slept.In 2009, Flynn founded Smart Passive Income to share his experiences and teach others how to create their own online businesses. Through his blog, podcast, and various online courses, Flynn quickly became a trusted authority on digital entrepreneurship and passive income generation.Strategies for SuccessPat Flynn's success is rooted in several key strategies that he's consistently employed throughout his career. Some of these principles include:

1. Transparency: Flynn has always been open about his successes and failures, sharing detailed income reports and case studies with his audience. This level of transparency has helped him build trust and credibility with his followers.
2. Diversification: Flynn emphasizes the importance of diversifying income streams to protect against economic downturns or changes in consumer preferences. His own businesses reflect this, with income sources ranging from affiliate marketing and digital products to online courses and speaking engagements.
3. Providing Value: Flynn is a firm believer in the idea that providing value to your audience is the key to long-term success. Through high-quality content and a genuine desire to help others, Flynn has cultivated a loyal following that continues to support his ventures.
4. Continuous Learning: Flynn attributes much of his success to his commitment to learning and adapting to the ever-changing digital landscape. He regularly invests in his own education and encourages others to do the same.

Over the years, Smart Passive Income has become a go-to resource for aspiring digital entrepreneurs. Pat Flynn's relatable story and clear, actionable advice have helped thousands of individuals create their own passive income streams and achieve financial independence. Flynn's influence extends beyond his website and podcast, as he has also authored books, spoken at conferences, and collaborated with other industry experts.In addition to inspiring others, Flynn's work has helped shape the digital marketing industry as a whole. His commitment to transparency and ethical marketing practices has set a standard for others to follow, fostering a more honest and authentic online business environment.


Enjoy our conversation with Pat Flynn.

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Craig Brewer (Director/Producer) began his career as a filmmaker in Memphis, Tennessee. While working at Barnes & Noble, he learned camera and editing techniques from books he purchased with his employee discount. In 2000, he made his first feature film, THE POOR & HUNGRY, which won Best Digital Feature at the 2000 Hollywood Film Festival. Brewer’s second film, HUSTLE & FLOW, starring Terrence Howard and Taraji P. Henson, was produced by Stephanie Allain and the late John Singleton. The film premiered at the 2005 Sundance Film Festival, winning the Audience Award for Best Feature. The film secured a record-breaking acquisition deal by Paramount Pictures and MTV Films. It garnered an Academy Award nomination for lead actor Terrence Howard and won the Academy Award for Best Original Song: Three 6 Mafia’s "It’s Hard Out Here for a Pimp." Brewer’s third film, BLACK SNACK MOAN, starred Samuel L. Jackson, Christina Ricci, and Justin Timberlake. The film premiered at the 2007 Sundance Film Festival and was released in theaters by Paramount Pictures.

In 2011, Brewer directed the remake of FOOTLOOSE for Paramount and produced the concert documentary KATY PERRY: PART OF ME. Moving into Television, Brewer directed the pilot to TERRIERS, which ran for one season on FX. He then re-teamed with Terrence Howard and Taraji P. Henson, directing ten episodes on their hit TV series, EMPIRE. In 2018, Brewer began his collaboration with Eddie Murphy on two films. The first, DOLEMITE IS MY NAME, based on the life of Rudy Ray Moore, won The Critic’s Choice Award for Best Comedy, an NAACP Award for Best Independent Film, and earned Eddie Murphy a Golden Globe Nomination for Best Actor.

Next was the highly anticipated sequel, COMING 2 AMERICA. The film was produced by Paramount and released by Amazon Studios in 2020, becoming the most streamed movie for Amazon ever.

Enjoy my conversation with Craig Brewer.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Oren Peli, an Israeli-American film producer, director, and screenwriter, is the creative genius behind the horror sensation Paranormal Activity. The movie single-handedly revolutionized the found-footage genre and spawned a successful franchise, all while being produced on a shoestring budget. In this article, we explore Peli's background, the making of Paranormal Activity, and its immense impact on the horror film industry.Oren had always been fascinated by the world of movies.

After moving to the United States in his early twenties, Peli initially worked as a software programmer. However, his passion for films remained undiminished, and he soon turned his attention to filmmaking. With no prior experience, Peli embarked on an ambitious journey and created a movie that would leave a lasting impact on the horror genre.

Enjoy our conversation with Oren Peli.

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You’ve just boarded a plane. You’ve loaded your phone with your favorite podcasts, but before you can pop in your earbuds, disaster strikes: The guy in the next seat starts telling you all about something crazy that happened to him–in great detail. This is the unwelcome storyteller, trying to convince a reluctant audience to care about his story.We all hate that guy, right? But when you tell a story (any kind of story: a novel, a memoir, a screenplay, a stage play, a comic, or even a cover letter), you become the unwelcome storyteller.So how can you write a story that audiences will embrace?

The answer is simple: Remember what it feels like to be that jaded audience. Tell the story that would win you over, even if you didn’t want to hear it.Today's guest Matt Bird can help you. He is a screenwriter and the author of the best-selling book The Secrets of Story: Innovative Tools for Perfecting Your Fiction and Captivating Readers.

The Secrets of Story provides comprehensive, audience-focused strategies for becoming a master storyteller. Armed with the Ultimate Story Checklist, you can improve every aspect of your fiction writing with incisive questions like these:• Concept: Is the one-sentence description of your story uniquely appealing?

• Character: Can your audience identify with your hero?
• Structure and Plot: Is your story ruled by human nature?
• Scene Work: Does each scene advance the plot and reveal character through emotional reactions?
• Dialogue: Is your characters’ dialogue infused with distinct personality traits and speech patterns based on their lives and backgrounds?
• Tone: Are you subtly setting, resetting, and upsetting expectations?
• Theme: Are you using multiple ironies throughout the story to create meaning?

To succeed in the world of fiction and film, you have to work on every aspect of your craft and satisfy your audience. Do both–and so much more–with The Secrets of Story.I dig into Matt's story system and breakdown the secrets of story.

Enjoy my conversation with Matt Bird.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Today we have a special CROSSOVER episode of the IFH Podcast. Our guest is Derek Kolstad, the genius behind the extremely successful John Wick franchise.

An ex-hitman comes out of retirement to track down the gangsters that took everything from him. With New York City as his bullet-riddled playground, JOHN WICK (Keanu Reeves) is a fresh and stylized take on the "assassin genre”.

He is also the screenwriter of One in the Chamber, The Package (starring Steve Austin & Dolph Lundgren). This episode is from the archives of The Make Your Movie Podcast with Dave Bullis available from the IFH Podcast Network. Dave chats with Derek about bad movies, screenwriting, the film business, and working with Keanu Reeves.

I wanted to bring this amazing episode to the IFH Tribe. Get ready to dive into the ultra-violent world of Derek Kolstad.

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Being a podcaster now for over 600 episodes I've heard all sorts of stories on how people make it in the film business. From Sundance darlings to blind luck. Now today's guest story is easily one of the most incredible and entertaining origin stories I've ever heard. We have on the show today award-winning director, producer, and screenwriter, Sacha Gervasi. Sacha won the screenwriter lottery with his first-ever screenplay, which was a un-produceable short film script, caught the eye of the legendary Steven Spielberg. That script, My Dinner with Herve would eventually be expanded and released in 2018 by HBO. The film stars the incomparable, Peter Dinklage. Unlike most writers/directors who go on to produce their debut films, Gervasi’s 1993 entry project wasn’t made until just three years ago.

I promise you, Sacha spills every detail of the fascinating story of his encounter with Hervé Villechaize, the famous little person from shows like Fantasy Island and films like James Bond's The Man with the Golden Gun. Hervé was arguably one of the most famous people in the world in the late '70s and early 80's. Sacha sat with Herve in a marathon interview, and the connection they forge during their brief, yet impactful meet.[presto_player id=154803]After his life-changing encounter with the Fantasy Island star, which followed Hervé's abrupt and unfortunate suicide, Sacha was determined to get his story told in its entirety and justifiably. He ditched his mid-level journalism job in England and moved to Los Angeles to attend film school at UCLA after developing the script for My Dinner with Herve. While on the climb-up, Sacha wrote screenplays for The Big Tease (1999) and The Terminal (2004) which was directed by Steven Spielberg and starred Tom Hanks. The comedy-drama film grossed $219.4 million at the Box office with a $60 million budget and has become a holiday classic in the UK.Tom Hanks played an Eastern European tourist who unexpectedly finds himself stranded in JFK airport, and must take up temporary residence there because he is denied entry into the United States and at the same time is unable to return to his native country because of a military coup.

In 2008, Sacha made his documentary directorial debut and executive produced Anvil! The Story of Anvil. The amazing documentary premiered at the 2008 Sundance Film Festival about a heavy metal band that never gave up on their dreams of being a successful band. Anvil was established in 1978 and became one of the most influential yet commercially unsuccessful acts with thirteen albums. The documentary ranks at 98% on Rotten Tomatoes.

He also directed the 2012 film Hitchcock, a story about the relationship between Alfred Hitchcock and his wife, Alma Reville during the filming of Psycho (1969). It starred Anthony Hopkins, Helen Mirren, and Scarlet Johansson.

I also interviewed Sacha and an old friend of his, Iron Maiden heavy metal band singer, Bruce Dickinson on my new podcast, Next Level Soul that you have to catch up with if you are down for more knowledge bombs and cool stories from Sacha. That episode comes out on Saturday. Here's a bit on my new podcast Next Level Soul.The Next Level Soul Podcast is a self-help & spirituality podcast that asks the big questions about living and thriving in the world today by having candid and inspiring conversations with thought leaders from every walk of life. The show covers inspirational, motivational, spiritual, health-oriented, yoga, meditation, wellness, and many more topics. New episodes of Next Level Soul air every Saturday anywhere you listen to podcasts. Let's take your SOUL to the next level.Sasha is such an interesting human being, I had such a ball talking with him. We talk about the film business, his origin stories, his screenwriting craft, what he's doing now, and so much more.

Enjoy my entertaining conversation with Sacha Gervasi.

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Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.


Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

So many times we hear those mythical stories of a filmmaker who makes a short film and uploads it to YouTube in hopes of a big-time film producer sees it and comes down from Mount Hollywood and offers him or her a deal to turn that short into a studio feature. Today's guest had that happen to him and then some. On the show is writer/director David F. Sandberg.

David's story is the "lottery ticket" moment I speak about so often on the show. His journey in Hollywood is remarkable, inspiring, and scary all at the same time. He created a short film called Lights Out. That short was seen by famed filmmaker and producer James Wan (Furious 7, Aquaman, The Conjuring) who offered to produce a feature film version at New Line Cinema.

The feature version of the film was made for $5 million and grossed $150 million at the box office. Here's what the film is about.When Rebecca left home, she thought she left her childhood fears behind. Growing up, she was never really sure of what was and wasn’t real when the lights went out…and now her little brother, Martin, is experiencing the same unexplained and terrifying events that had once tested her sanity and threatened her safety. A frightening entity with a mysterious attachment to their mother, Sophie, has reemerged. But this time, as Rebecca gets closer to unlocking the truth, there is no denying that all their lives are in danger…once the lights go out.The film stars Teresa Palmer (“Triple 9”) as Rebecca; Gabriel Bateman (“Annabelle”) as Martin; Billy Burke (the “Twilight” franchise) as Martin’s father, Paul; Alexander DiPersia (“Forever”) as Rebecca’s boyfriend, Bret; and Maria Bello (“Prisoners”) as Sophie. After the success of Lights Out he tackled the horror prequel Annabelle Creation. That film went on to make over $300 million at the box office with a $15 million budget.

Several years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.

The studio Gods were pleased with David because he was offered New Line Cinema’s Shazam!, the origin story that stars Zachary Levi (TV’s “Chuck”) as the titular DC Super Hero, along with Asher Angel (TV’s “Andi Mack”) as Billy Batson, and Mark Strong (the “Kingsman” movies) in the role of Super-Villain Dr. Thaddeus Sivana. Shazam! was a box office smash.David and I discuss his days making short films, which he still makes on the side, working in the studio system, his filmmaking philosophy, how he could afford a place to stay in Los Angeles while he was in pre-production on Lights Out and what it takes to make it as a filmmaker in today's world.

Enjoy my conversation with David F. Sandberg.

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On today's episode, we welcome Sean Buckley, founder and CEO of Buck Productions. From humble beginnings to becoming a force in content creation, Sean’s journey is a testament to persistence, passion, and adaptability. Through his story, he paints a vivid picture of the challenges of building a media production company from scratch, especially in an ever-evolving industry where technology has transformed the very nature of content creation. "Work ethic," he says, "is the backbone of success in this industry.

"Sean recalls the early days in 1994, when making content meant overcoming logistical obstacles that today’s creators rarely face. Filmmaking then was a more arduous process, demanding significant manual effort, with analog, linear editing and physical deliveries of VHS tapes. In those days, getting a project off the ground involved cold calls and navigating skepticism. Sean emphasizes that those experiences, though difficult, were foundational. They shaped his resilience, a trait that he argues is crucial for creators even today.As the conversation delves deeper, Sean reflects on how the digital age has leveled the playing field. With tools now accessible to everyone, "the barriers to entry," he notes, "are almost gone." Anyone can shoot, edit, and publish content. But with the democratization of content creation, he warns, comes a saturation of voices. Success in this new landscape, he believes, demands not just access but talent and a relentless drive to stand out amid the noise. 

For Sean, having a unique perspective and refined storytelling craft remains paramount in a world awash with content.Despite the industry’s rapid changes, Sean holds firm to his philosophy of diversity in storytelling. Buck Productions has a varied portfolio spanning feature films, unscripted shows, documentaries, and branded content. "Our business model is like a spectrum," he explains, "where creativity meets business acumen." This diversified approach has allowed Buck Productions to adapt to industry trends without being pigeonholed, and to prioritize meaningful projects. For Sean, content creation is both an art and a business, one that demands constant evolution and balance between vision and practicality.When asked about the influx of new content on platforms like YouTube and Netflix, Sean sees both opportunity and challenge. The vast amount of content now available has shifted the power dynamic from creators to audiences, who now decide when, where, and what they want to watch. "Today’s audience has a ferocious appetite," he observes, "and they’re the ones in control." This shift requires creators to think not only about what they make but also about how quickly they can adapt to audience demands.

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Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.

They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.

They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.

They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.

While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.

When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.

They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.

Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

We have for you on the show today screenwriter and director, Boaz Yakin, The writer behind The Punisher, Dirty Dancing: Havana Nights, The Rookie, & Safe and directing, The Fresh, Remember the Titans and the comedy-drama, Uptown Girl among others.Growing up in a talented theatrical family, it was only natural for Yakin to pursue a life in film or some sort of performing arts.

His dad, who was a teacher at Juilliard and a theater director enrolled Boaz into the famous Stell Adler script analysis class when he was only 17 years old. Thereafter, he tried out film school at US City college, later transferred to NYU, before quitting school after his first script was auctioned and got him in the door at 19 years old.At age 22, Yakin wrote his first produced film, Marvel's The Punisher. When Frank Castle's family is murdered by criminals, he wages war on crime as a vigilante assassin known only as The Punisher.

In 1990, Yakin co-wrote one of the action films of the times, The Rookie, starring star boy Charlie Sheen, and Clint Eastwood who also directed the film.

But his big hit came right after, FRESH, Yakin’s directorial debut is an emotional coming of age story, that offers a realistic glimpse of the dangerous life in New York City's projects during the crack epidemic.

Michael, nicknamed Fresh, is a 12-year-old kid running drugs for gangsters, notably Esteban, inspired by the chess lessons of his father, an alcoholic speed-chess master played by Samuel L. Jackson. Fresh devises and executes a brilliant plan to extricate himself and his drug-addicted sister from their hopeless lives.

Next up for Boaz was directing the box-office smash. REMEMBER THE TITANS.Academy Award® winner Denzel Washington shines in REMEMBER THE TITANS. Based on real events, this remarkable story celebrates how a town torn apart by friction and mistrust comes together in triumphant harmony. After leading his team to fifteen winning seasons, beloved football coach Bill Yoast (Will Patton) is demoted and replaced by tough, opinionated Herman Boone (Washington). How these two men overcome their differences and turn a group of hostile young men into champions is a remarkable portrait of courage and perseverance. You and your family will never forget the Titans!

His blockbuster smash, Now You See Me featured big industry names like Morgan Freeman, Jesse Eisenberg, Isla Fisher, Dave Franco, Mark Ruffalo, Woody Harrelson, Michael Caine, etc. The $75 million budget film grossed $351.7 dollars.The plot follows an FBI agent and an Interpol detective who track and attempt to bring to justice a team of magicians who pull off bank heists and robberies during their performances and reward their audiences with the money.

Boaz continued his blockbuster ways by working on the $200 million tentpole film Prince of Persia: The Sands of Time, starring Jake Gyllenhaal.A young fugitive Prince and Princess must stop a villain who unknowingly threatens to destroy the world with a special dagger that enables the magic sand inside to reverse time.

Boaz and I chatted about his creative process, the business side and political side of screenwriting and directing in Hollywood during this conversation. He was extremely raw and honest about what it really is like working inside the Hollywood machine.

Enjoy this conversation with Boaz Yakin.

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