Explore every episode of the podcast Low-Budget Rebels: An Indie Filmmaking Podcast

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most powerful tools in a filmmaker’s arsenal: lighting. When you’re working on a limited budget, lighting choices can define the entire visual identity of your film. Whether it’s creating mood, shaping tone, or simply making sure the audience can see what’s happening, the way you approach lighting can dramatically influence how your story feels on screen.This episode is all about collaboration between directors and cinematographers, and how clear communication, planning, and smart technical decisions can help you achieve a strong visual style without a massive budget.

We start with Joshua Caldwell, director of Layover, Mending the Line, and Three People in the Woods. Joshua breaks down the difference between motivated and unmotivated lighting and explains why his focus has shifted toward realism and simplicity in recent years. Instead of chasing increasingly high camera resolutions, Joshua talks about how understanding ISO and exposure can make a much bigger difference in how your film actually looks and feels. For him, the goal isn’t flashy lighting — it’s making the image interesting while staying grounded in the reality of the scene.

Next up, Jake Jarvi, director of Haunt Season and Exes of Christmas Past, discusses how lighting supports tone and theme rather than dominating the filmmaking process. Jake explains why he prefers to keep lighting from becoming an overwhelming concern during production so he can stay focused on performance, blocking, and the overall flow of a scene. He also talks about how having control over your lights allows you to refine the look on set, while smart color correction in post-production can give filmmakers extra flexibility when working with limited lighting setups.

Then we hear from Scarlet Moreno, director of Phaedra and Little Lucha and The Big Deal. Scarlet discusses the importance of mood boards when defining a film’s visual identity. By exploring references for tone, color, and lighting early in the process, she’s able to create a clear visual direction before the cameras ever roll. She also emphasizes how crucial communication is between director and cinematographer, explaining that a shared understanding of what the film should feel like makes it far easier to achieve the desired look once production begins.

Finally, Alex Alessi, director of Nomad, When Everything’s Gone, and the upcoming Homebody, talks about thinking about the look of a film from the very beginning of development. Alex explains how identifying the visual inspiration for a project can shape everything from lighting choices to production design. He also highlights the value of working with a strong cinematographer who is willing to test cameras, lenses, and lighting setups in advance, building a visual approach long before the first day on set.

This episode is about intentional filmmaking. Lighting doesn’t have to be complicated or expensive to be effective. What matters most is understanding the tone of your film, communicating clearly with your collaborators, and making choices that support the story you’re trying to tell.Huge thanks to everyone supporting Flush Studios on Patreon. Your support keeps Low-Budget Rebels ad-free and allows us to keep having honest conversations about the realities of independent filmmaking. If you’re not already part of the community, you can join us at patreon.com/flushstudios.

More episodes are on the way.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most misunderstood parts of the filmmaking process: releasing your movie. Finishing a film is a huge accomplishment, but getting people to actually see it is an entirely different challenge. From film festivals to distribution strategies to building excitement around your project, this episode explores the many ways independent filmmakers can bring their work to an audience.

Every film has a different path. Some thrive on the festival circuit. Others find their audience online. The key is understanding what you have, who the audience is, and how to create a release strategy that actually makes sense for your project.

We kick things off with Scarlet Moreno, director of Phaedra and Little Lucha and The Big Deal. Scarlet talks about planning a festival run strategically and using that time on the circuit to meet collaborators, build relationships, and get the right people to see her work. She also breaks down the challenge of releasing short films, and how thoughtful marketing and targeted online platforms can help ensure a film doesn’t disappear after its festival life ends.

Next up is Joshua Caldwell, director of Layover, Mending the Line, and Three People in the Woods. Joshua discusses the importance of understanding what kind of film you’ve made and finding the right premiere to launch it. He also dives into the common misconception that distribution automatically leads to money and audiences, explaining the reality behind how much work is required to properly release a film and make it stand out.

Then we hear from Jake Jarvi, director of Haunt Season and Exes of Christmas Past. Jake emphasizes the importance of thinking about distribution before production even begins. He explains how knowing your potential release path early can influence creative and logistical decisions throughout the filmmaking process. Jake also talks about the real costs associated with festivals and representation, and how filmmakers can approach those investments strategically.

Finally, Alex Alessi, director of Nomad, When Everything’s Gone, and the upcoming Homebody, talks about the power of community when it comes to releasing a film. Alex discusses how an enthusiastic cast and crew can help build momentum and visibility for a project, creating a snowball effect that pushes the film into wider conversations. He also breaks down how social media can help connect filmmakers with their audience while building excitement around a project long before and long after release.

This episode is all about strategy and awareness. Releasing a movie isn’t just about uploading it somewhere and hoping people find it. It’s about understanding your film, identifying your audience, and creating a plan that helps your work reach the people who will connect with it most.Huge thanks to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays ad-free and continues to be a place for honest conversations about the realities of independent filmmaking. If you’re not already part of the community, you can join us at patreon.com/flushstudios.

More episodes are on the way.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re tackling one of the biggest hurdles every filmmaker faces: how to fund your film. Whether it’s self-financing, attracting investors, building a network through short films, or finding creative ways to stretch the resources you already have, this episode is all about the many paths filmmakers take to get a project off the ground.

Every film has a budget — even if that budget is whatever happens to be in your bank account at the moment. The question isn’t just how much money you have, but how you think about that money, how you use it, and how it shapes the film you’re able to make.

We kick things off with Joshua Caldwell, director of Layover, Mending the Line, and Three People in the Woods. Joshua talks about making Layover with money out of pocket, teaming up with a friend to self-finance the project and proving that a feature can be made with extremely limited resources. He also dives into how the idea of “budget” evolves as your films get bigger, and why understanding where that money goes becomes increasingly important as the scale of production grows.

Next up is Jake Jarvi, director of Haunt Season and Exes of Christmas Past. Jake discusses raising money through an investment platform and working with actual investors to finance his films. He breaks down how building trust with backers can open the door for future projects, and how thoughtful budgeting and transparency can help turn a one-time investment into a long-term filmmaking relationship.

Then we hear from Scarlet Moreno, director of Phaedra and Little Lucha And The Big Deal. Scarlet talks about working within the $7,000 constraints of Rebel Without a Crew: The Series and how that experience taught her invaluable lessons about production, budgeting, and problem-solving. She also discusses the importance of making short films to build both your creative voice and your professional network, and how understanding the context of your story can help guide realistic production decisions.

Finally, Alex Alessi, director of Nomad, When Everything's Gone, and the upcoming Homebody, talks about self-financing and designing stories around the resources you actually have. Alex shares how indie filmmakers can maximize their budgets by focusing on what they can realistically accomplish and how determination can sometimes be more valuable than money — including reaching out through agents to attach recognizable talent who believe in the story you’re trying to tell.

This episode is about resourcefulness. About understanding that there’s no single path to financing a film. Some filmmakers invest their own money. Some bring in partners. Some build their careers one short film at a time. But in every case, it comes down to knowing your resources, believing in the project, and finding creative ways to make the numbers work.Huge thanks to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays ad-free and continues to be a space for honest conversations about the realities of independent filmmaking. If you’re not already part of the community, you can join us at patreon.com/flushstudios.

More lessons from the trenches are coming.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re closing out this run with a survival guide for independent filmmakers who are in the trenches right now. This one is all about the tricks, philosophies, and mindsets that make low-budget filmmaking not just possible, but actually fun. When resources are thin, every choice matters. What you spend on, what you save on, who you bring in, and how you adapt can be the difference between finishing a movie or burning out halfway through. This week’s guests share the hard-earned lessons that helped them survive the chaos and keep making work they’re proud of.

We kick things off with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan talks about the importance of being honest with yourself about what roles you can and cannot realistically fill on set. He shares how trying to do everything can hurt a project, and how working with a strong cinematographer helped him discover what he actually likes visually and begin building a personal style. Dan also digs into the deeper “why” behind making movies at all, and how staying connected to that reason becomes the greatest low-budget hack of all when things get hard.

Next up, Nick Psinakis, co-director of Cheat and Valley View Motel, lays down one of the most crucial truths in indie film: sound is king. Nick breaks down why investing in audio gear and learning how to use it properly can elevate a film more than almost any other upgrade. He talks about how bad sound can sink even the most visually interesting movie, and shares creative ways to use limited tools differently so your work stands out instead of blending into the noise.

Then Joe Sherlock, the force behind Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films, gets into the art of using your surroundings to fake new locations and stretch a tiny budget into multiple worlds. Joe talks about how changing small details can help you shoot more projects without burning out your locations. We also get into the very real, very controversial topic of coffee for cast and crew, and why taking care of people matters more than filmmakers sometimes admit. He shares why spending money on reusable props and assets pays off over time, especially when you’re building a body of work instead of just one film.

Finally, R.S. Trashley (Sean Ashley), director of the Homicide McLeod films and producer of Get That Dick, talks about prioritizing time over everything else. Sean makes the case for spending money on more days of production so you are not constantly rushing and cutting corners. He breaks down how to hide your weakest elements by focusing on what you can show well, whether that’s performance, a clever effect, or a single strong visual idea. We also share the infamous “It’s HIS BUDDY!” story from Get That Dick, which perfectly sums up the chaos, problem-solving, and weird magic of low-budget filmmaking.

This episode is about survival, yes. But it’s also about mindset. It’s about learning where to be scrappy, where to be intentional, and how to turn limitations into a style instead of a frustration. Low-budget filmmaking isn’t just a phase. For a lot of us, it’s the training ground that shapes who we become as artists.

Thank you so much for supporting Low-Budget Rebels. Your support keeps these episodes ad free and helps us continue having honest, practical conversations about what it really takes to make movies outside the system. If you’re not already a member, you can join us at patreon.com/flushstudios.

And don’t forget to follow and support this episode’s incredible guests:
Dan Lotz – Chlorine, The Long Con, Sheep Theater
Nick Psinakis – Cheat, Valley View Motel
Joe Sherlock – Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, Weird House films
R.S. Trashley (Sean Ashley) – Homicide McLeod films, Get That Dick

That wraps this run of episodes. More conversations are coming. Keep making the work you want to see, take care of your people, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most intimidating — and most rewarding — parts of indie filmmaking: working with actors. When you’re making movies with tiny budgets, tight schedules, and often first-time performers, directing performances becomes less about “perfection” and more about trust, communication, and creating an environment where people feel safe to try things. This week’s guests share how they’ve learned to guide performances, build confidence, and get honest, compelling work from actors under low-budget conditions.

We kick things off with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan reflects on making movies with his friends as a kid and how those early experiments taught him what kinds of performances you can realistically get from people. He opens up about the fear of stepping in front of the camera himself and carrying a film as a performer, and how learning to act gave him empathy for what actors go through. Dan also talks about the unique challenges of directing performances within an improvisational style, where structure and freedom have to exist at the same time.

Next up, Nick Psinakis, co-director of Cheat and Valley View Motel, breaks down how studying acting changed the way he directs. Nick shares how learning performance from the inside helped him communicate more clearly with actors, listen more closely, and build real relationships with his cast. We talk about techniques for getting organic, natural performances on set, and how often actors will surprise you when you give them the space and trust to bring their own instincts into a scene.

Then Joe Sherlock, the mind behind Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films, talks about his approach to finding and working with actors. Joe dives into the importance of being upfront about the kinds of movies you’re making and the tone you’re going for, so the people who show up are aligned with the vision. He shares how openness and communication lead to better buy-in from the cast, and how being honest about the limitations of a low-budget production helps actors give you their best work instead of feeling misled or frustrated.

Finally, Sean Ashley (R.S. Trashley), director of the Homicide McLeod films and producer of Get That Dick, talks about finding talent through festivals and community. Sean reflects on meeting incredible actors through the Atlanta film scene, including collaborations that came directly from simply showing up and engaging with people. We dig into the anxiety of bringing new talent onto a project, not knowing what they’ll bring to the table, and the techniques he uses to steer performances without crushing what makes an actor unique.

This episode is all about trust, communication, and empathy — learning how to meet actors where they are, especially when you’re working with first-timers or friends who are learning alongside you. It’s a reminder that great performances don’t come from control. They come from collaboration.Thank you so much for supporting Low-Budget Rebels. Your support keeps these conversations ad free and helps us keep bringing real, honest filmmaking discussions to the table. If you’re not already a member, you can join us at patreon.com/flushstudios.

And don’t forget to follow and support this episode’s incredible guests:
Dan Lotz – Chlorine, The Long Con, Sheep Theater
Nick Psinakis – Cheat, Valley View Motel
Joe Sherlock – Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, Weird House films
R.S. Trashley (Sean Ashley) – Homicide McLeod films, Get That Dick

More fearless filmmaking conversations are on the way. Stay scrappy, keep learning, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

On this episode of Low-Budget Rebels, we’re swapping theory for survival stories. This week is all about war stories from production — the moments where everything goes sideways, emotions run high, plans fall apart, and somehow the movie still gets made. These are the stories you don’t hear in film school, but the ones that actually teach you how to endure this craft.

Every filmmaker has them. The days where the problem isn’t the shot list or the budget, but life, weather, people, or pure chaos. This episode is about how you respond when the plan breaks — and how resilience, adaptability, and stubbornness become your most valuable tools.

We kick things off with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan opens up about losing his father during production and how that loss deeply affected the work. He talks honestly about grief colliding with responsibility, and the emotional weight of trying to keep a project moving forward while processing something that life-altering. Dan also dives into the unseen toll of visual effects-heavy projects, breaking down how ambitious VFX work can quietly multiply the workload in ways most people never realize until they’re buried in it.

Next, Nick Psinakis, co-director of Cheat and Valley View Motel, shares how something as uncontrollable as snow completely reshaped his production. Locations had to change. Plans had to be thrown out. Expectations had to shift. What started as an obstacle turned into a defining element of the film’s atmosphere. Nick talks about staying mentally prepared for the fact that anything can go wrong at any moment — and how that mindset allows you to pivot instead of panic.

Then we hear from Joe Sherlock, known for the Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films, who brings the wildest stories of the episode. Joe recounts how filming in public spaces with an ape mask led to a hilariously chaotic misadventure, including the very real possibility of law enforcement involvement. He talks about having the cops called on productions, the importance of adaptability, and how filming multiple projects around the same locations can turn a stressful situation into an opportunity if you’re willing to think fast and shoot smarter.

Finally, R.S. Trashley, director of the Homicide McLeod films and producer of Get That Dick, breaks down the slow burn of production chaos. Not one big disaster, but a constant stream of small things going wrong. He talks about learning to move forward through frustration, recognizing when to stop fighting circumstances, and making peace with the idea that finishing the project matters more than perfection. For him, persistence isn’t glamorous, but it’s essential.

This episode is about endurance. About finishing when it hurts. About adapting when nothing goes according to plan. And about understanding that the scars you earn on set are often the ones that shape you into a better filmmaker.

Huge thanks to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays ad-free and honest, with room for real conversations about the hard parts of making movies. If you’re not already part of the community, you can join us at patreon.com/flushstudios.

More hard-earned lessons are coming.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this week’s episode of Low-Budget Rebels, we dig into something that doesn’t get talked about nearly enough: knowing your strengths as a filmmaker and building your process around them. Not every director works the same way, and that’s the point. The key isn’t forcing yourself into someone else’s workflow, but recognizing what you’re good at and leaning into it hard.

This episode is all about self-awareness, trust, and momentum. How do you make movies in a way that actually works for you? And how do you turn your instincts, habits, and even your chaos into creative advantages?

We start with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan talks about embracing an improvisational mindset as a director. Figuring things out on the fly, experimenting, staying loose, and allowing raw filmmaking instincts to guide the work. Instead of locking himself into rigid plans, Dan finds strength in adaptability and discovery, letting the movie reveal itself during production.

Next up is Nick Psinakis, co-director of Cheat and Valley View Motel, who brings a counterbalance to that approach. Nick dives into the power of planning ahead and the importance of working with a creative partner who has your back. He talks about building projects through collaboration, trust, and preparation, and how balancing ideas with a teammate can turn limitations into structure instead of stress.

Then we’re joined by Joe Sherlock, known for the Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films. Joe breaks down one of his greatest strengths: finishing things. He talks about harnessing his night-owl energy, working late when the world is quiet, and using drawing as part of his creative process to stay focused and aligned. For Joe, motivation mixed with a refusal to leave projects unfinished is what keeps his films moving forward.

Finally, Sean Ashley (R.S. Trashley), director of the Homicide McLeod films and producer of Get That Dick, talks about trusting himself. Trusting his gut. Trusting his vision. And learning how to trust the visions of others as well. Sean embraces the madness of collaboration, the chaos of team-based filmmaking, and the beauty that comes from letting that energy become a strength instead of something to control or fear.

This episode is a reminder that there is no single “correct” way to make a movie. Your strengths are personal. Your process should be too. When you understand how you work best, you stop fighting yourself and start finishing stronger films.A huge thank you to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays completely ad-free here, with space for longer, more honest conversations about what it really takes to make movies independently.

If you’re not already a member, head to patreon.com/flushstudios to join and support the show.More real, messy, and meaningful filmmaking conversations are on the way.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most defining — and often most misunderstood — aspects of filmmaking: how your movie looks like your movie. From lighting choices to blocking to camera framing, every decision shapes the emotional language of your story. And when you’re working on a small budget, those decisions matter even more. This week’s guests break down how they craft their visual style in ways that are practical, personal, and deeply connected to the filmmaking process.

We open with Alejandro Montoya Marin, director of Monday, Millennium Bugs, and The Unexpecteds. Alejandro talks about not locking himself into a rigid “signature style,” but instead embracing the moment. He breaks down how he listens to the environment, the actors, and the energy of the scene — and how he lets ideas from his team marinate and evolve rather than forcing his own. For Alejandro, style emerges from collaboration, instinct, and trusting the creative flow on set.

Next up, Taylor Morden, known for The Last Blockbuster, Getting Lost, and Bampire, shares how he builds consistency into his visual approach. Taylor digs into the lighting setups, framing preferences, and camera rules he uses to give each film a cohesive look — even when resources are limited. He emphasizes how limitations aren’t obstacles but the sparks that ignite creative direction, helping him make bold, memorable choices that give each project its own identity.

Then we turn to Christopher Fox, director of Rub and My Father’s Echo, who explains how his visual style really begins in preproduction. Christopher talks about testing gear, experimenting with setups, and even conducting practice shoots to discover what the film wants to be before the first official shot rolls. He breaks down how carving out time to play — to fail, adjust, and experiment — leads to breakthroughs that carry into production and define the look and tone of the final film.

Finally, Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series, brings us home with a focus on motion. Aaron discusses how thoughtful camera movement breathes life into scenes, elevates blocking, and creates a dynamic rhythm even in the simplest locations. Through movement, he shapes mood, tension, and energy — proving that the camera itself can be the most expressive character in a low-budget film.

This episode is all about intentionality and adaptability — how indie filmmakers use lighting, framing, blocking, and movement not to mimic Hollywood productions, but to define who they are. Whether you rely on available light, tight spaces, improvisational instincts, or meticulously planned storyboards, your visual voice can shine through in every frame.

If you're sick of the ads or want to help support Flush Studios, head over to patreon.com/flushstudios and subscribe today! Not only do you get the episodes of this podcast early, you also get tons of behind-the-scenes, comics, and other fun filmmaking antics to enjoy! 

More creative insights are coming your way — stay tuned, keep experimenting, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

Today’s episode of Low-Budget Rebels explores one of the most essential, and deceptively challenging, parts of filmmaking: crafting characters who feel real, grounded, and unforgettable… all without the luxury of big budgets. When you don’t have massive sets, expensive wardrobe, or endless rehearsal time, your characters need to come alive through intention, collaboration, and creativity. And for indie filmmakers, that constraint can actually become a superpower.

Our guests this week show how character-building isn’t about money; it’s about clarity, connection, and confidence in the people who bring your story to life.

We kick things off with Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series. Aaron dives into how he gives actors strong emotional motivation using clear, personal examples that anchor them instantly into who the character is. He talks about ignoring budget anxiety during the creative phase and instead focusing on what matters most: loving the characters so deeply you don’t want to leave them behind. That passion becomes the foundation that makes low-budget performances resonate with audiences.

Next up, Alejandro Montoya Marin, director of Monday, Millennium Bugs, and The Unexpecteds, digs into the heart of character development. Creating people the audience genuinely cares about. Alejandro breaks down how he finds personal connections to his cast of characters and invites his actors to explore, play, and discover new layers on set. By allowing room for interpretation and collaboration, he turns limitations into opportunities for deeper, more honest performances.

Then we turn to Taylor Morden, director of The Last Blockbuster, Getting Lost, and Bampire. Taylor shares the unique perspective he gained from documentaries and how that informs his narrative directing. He explains how staying attentive to an actor’s emotional state and helping them stay anchored in the story can elevate low-budget scenes dramatically. Instead of pushing a predetermined performance or style, Taylor focuses on pulling out an actor’s authentic instincts and the details that make a character feel lived-in instead of manufactured.

Finally, Christopher Fox, director of Rub and My Father’s Echo, expands the conversation by talking about worldbuilding even on the smallest scale. Christopher explains how giving actors props, textures, spaces, and story details helps them fully inhabit their characters. He also dives into how locations themselves can become characters, shaping behavior, mood, and tone in ways far more powerful than expensive sets. For low-budget filmmakers, embracing the environment rather than fighting it can unlock an entirely new layer of character depth.

This episode is all about the craft of building people, not just plot points — characters who feel emotionally grounded, visually expressive, and fully dimensional, no matter the size of your budget. It’s a deep dive into the art of trusting your actors, embracing your limitations, and shaping performances that stick with the audience long after the credits roll.

Thank you again everyone for joining me on the filmmaking journey on Patreon! If you'd like to subscribe and hear the show ad-free, head over to patreon.com/flushstudios. Your support keeps this show going and fuels the next wave of rebellious indie filmmaking.More bold filmmaking conversations are on the way. Stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

Today’s episode of Low-Budget Rebels tackles one of the biggest, most confusing, and most career-defining decisions indie filmmakers face: What the hell do you do with your movie once it’s finished? Do you take the festival route and hope the right people notice? Or do you skip the gatekeepers entirely and push your film straight to the audience that actually wants it? There isn’t a universal “correct” answer — but there are smart ways to evaluate your options. And today’s guests bring a wealth of real-world experience to help you figure out which path is truly right for your film.

We kick things off with Taylor Morden, director of The Last Blockbuster, Getting Lost, and Bampire. Taylor lays out something that not enough filmmakers talk about: not every movie is meant for every release strategy. Different types of films thrive in different environments, and knowing your film’s identity early can save you pain and money later. Taylor digs into how he starts thinking about distribution before he even commits to a project — how the tone, subject matter, and intended audience can shape whether a film belongs on the festival circuit, in niche streaming spaces, or in the hands of fans as soon as possible.

Next up, Alejandro Montoya Marin, the mind behind Monday, Millennium Bugs, and The Unexpecteds, shares how community, relationships, and momentum play into distribution decisions. Alejandro talks about the emotional side of releasing a film, the importance of building a loyal fanbase, and how festivals can be part of a larger ecosystem — not the only metric of success.

Then Christopher Fox, director of Rub and My Father’s Echo, brings in a vital perspective on the business side: distribution red flags. We break down the bad deals, the traps hidden in contracts, and the promises distributors love to make but rarely deliver. Christopher offers invaluable insight into protecting your film, your rights, and your long-term career by recognizing when a deal simply isn’t worth it.

Finally, Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series, talks about choosing a completely different path — skipping festivals altogether. Aaron dives into how YouTube, Filmhub, social media, and a direct connection to viewers can create more impact than a traditional festival run. He shares how building your own audience, controlling your release, and understanding modern viewing habits can turn a low-budget film into a real career stepping stone.

For filmmakers who feel shut out of festivals or simply uninterested in that route, Aaron offers a roadmap that’s refreshingly honest and achievable. This episode is all about clarity and empowerment. Whether you’re chasing laurels or bypassing them entirely, the goal is the same: find the path that aligns with your film, your resources, and your long-term creative goals.

And a huge thank you to everyone supporting Flush Studios on Patreon. Thanks to you, these episodes stay completely ad-free over there, allowing for deeper, uninterrupted conversations about the realities of indie filmmaking.

If you’re not already part of the community, you can join at patreon.com/flushstudios for early access, bonus content, and a direct line into the rebellion. More fearless filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re exploring one of the most essential — and most personal — parts of indie filmmaking: building your film family. Cameras, lights, gear… those things matter. But nothing shapes a movie more than the people you choose to make it with. Your cast. Your crew. Your collaborators. Your circle.

This week, we’re breaking down what it really takes to create a trusted, long-term team and how to nurture those relationships so your film family grows stronger with every project.

We kick things off with Alejandro Montoya Marin (Monday, Millennium Bugs, The Unexpecteds), who dives into the power of playfulness on set. For Alejandro, filmmaking isn’t just work. It’s a shared addiction to creativity. He talks about keeping the environment fun, collaborative, and alive, because the best film families grow out of joy, not stress. If people love being there, they’ll keep coming back.

Next, Taylor Morden (The Last Blockbuster, Getting Lost, Bampire) discusses the value of building community from the ground up. Taylor’s all about finding the people in your town, your scene, your orbit who not only want to help you make films but want to help build the actual film community with you. It’s about creating a circle that lifts each other up, project after project.

Then we talk with Christopher Fox (Rub, My Father’s Echo), who breaks down the importance of bringing in collaborators who aren’t above rolling up their sleeves on a low-budget project. Christopher shares how giving people creative freedom and treating them like true collaborators fosters loyalty and how that respect keeps them coming back film after film.

Finally, Aaron Carlson (The Outrider, The Horrorverse Fan Film Series) shares his perspective on long-term creative relationships: water them. Treat people with respect, nurture those connections, and let them blossom naturally. Aaron talks about how kindness and professionalism build bonds stronger than any contract and how people who don't meld with the flow of your projects will naturally fall away.

This episode digs into the heart of filmmaking: trust, consistency, communication, investment, and genuine connection. How do you choose who belongs in your circle? How do you build trust with new collaborators? How do you keep relationships alive between projects? And what happens when someone no longer fits the family?

Your support makes these episodes possible — thank you for being part of this growing, rebellious community. If you’re not a member yet and want ad-free episodes plus bonus conversations, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:

Alejandro Montoya Marin – Monday, Millennium Bugs, The Unexpecteds
Taylor Morden – The Last Blockbuster, Getting Lost, Bampire
Christopher Fox – Rub, My Father’s Echo
Aaron Carlson – The Outrider, The Horrorverse Fan Film Series

More bold, independent filmmaking conversations are on the way . Stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most unpredictable — and genuinely exhilarating — parts of indie filmmaking: improvisation on set. Scripts are the backbone of any movie, but once you’re on location with your cast, crew, props, chaos, and surprises… the real magic often comes from the unexpected. This week’s guests break down how they use improvisation as a tool — not to lose control of a scene, but to elevate it.

We kick things off with Mitch McLeod, director of Silhouette and Marrow, who talks about how meticulous shotlisting gives him the freedom to be spontaneous. By knowing exactly what he must capture, Mitch creates space for creativity, experimentation, and on-the-spot problem solving. He shares how some of his favorite moments came from simply staying open to new ideas on the day.

Next up, Traci and Jon Russell Cring — the duo behind Little Bi Peep, The Night We Met, and Sky Valley — dig into the importance of trust. Trusting your cast. Trusting your crew. Trusting the process enough to let people play while still maintaining structure. They talk about managing egos, avoiding messes, and giving every department room to shine so improvisation becomes an asset, not a distraction.

Then we talk with Max Remmler, creator of 4 Clones Alone, who explores how smart casting opens the door to great improv. When actors naturally embody the energy of their roles, they’re able to try new things, explore, and find moments that feel alive and honest. Max shares how some of his most memorable beats were discovered through letting performers, including family members, bring their own instincts into the frame.

Finally, Ricky Glore — writer/director of Sweet Meats and Casually Cool! — breaks down how embracing genre, tone, and environment can lead to powerful improvised moments. He talks about using what’s around you, reshaping scenes on the fly, and letting trial and error guide you toward something unique and unexpected. He also takes a phone call.This episode is all about flexibility, intuition, and trusting your team — a look at how improvisation can deepen performances, sharpen scenes, and unlock those cinematic moments you could never have planned on paper.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the toughest challenges indie filmmakers face: keeping the spark alive. Finishing a movie is a huge accomplishment — but what happens next? How do you refill the creative tank, carry momentum into the next project, and keep building a body of work without burning out? This week’s guests share the honest, practical, and personal ways they turn one film into the next.

We kick things off with Traci and Jon Russell Cring, creators of Little Bi Peep, The Night We Met, and Sky Valley. They dive into how ideas evolve, where inspiration comes from, and how allowing yourself time, grace, and space between projects can lead you to the story you’re meant to tell next. They talk about reconnecting with what speaks to you — and letting that guide your next move.

Next, Max Remmler, director of 4 Clones Alone, opens up about what it means to live with a film after you’ve wrapped. He talks about how audience reactions shape his understanding of what he actually made, and how riding that wave of energy helps him stay enthusiastic as he transitions into the next creative chapter.

Then we’re joined by Ricky Glore, writer/director of Sweet Meats (available on TromaNOW! this Thanksgiving) and Casually Cool! Ricky breaks down how he chooses his next project by focusing on stories that truly resonate — ones that are both creatively exciting and realistically achievable. We discuss budgeting, pivoting when needed, and how staying grounded in what’s possible can keep the momentum rolling.

Finally, Mitch McLeod, director of Silhouette and Marrow, talks about how enthusiasm is one of the most powerful tools a filmmaker has. He shares why planning ahead and knowing your upcoming ideas can create a natural workflow, giving you the motivation and clarity to keep moving from film to film without losing steam.

This episode is all about energy, inspiration, and sustainability — a look at how independent creators keep going, keep growing, and keep making films even when the process gets tough.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most essential — and often overlooked — parts of indie filmmaking: finding the shot. Whether you’re working with a full crew or flying solo, every decision behind the camera shapes the story you’re telling. This week’s guests share how planning, collaboration, and spontaneity all come together to create the visual language of a film.

We start with Max Remmler, director of 4 Clones Alone, who breaks down the challenges of filming himself and working with an incredibly small crew. He talks about how storyboards changed his approach to production, and how being deliberate about shot planning can still leave room for discovery on set.

Then, Traci and Jon Russell Cring, the team behind Little Bi Peep, The Night We Met, and Sky Valley, talk about the delicate balance between capturing the perfect shot and getting the right performance. They share why doing a thorough breakdown before filming is key to staying organized and creative when it’s time to roll.

Next up, Ricky Glore, writer and director of Sweet Meats and Casually Cool!, opens up about working with trusted collaborators — friends who know how to communicate and understand his creative instincts. That trust, he says, is what ensures he always gets the shots he needs without second-guessing the process.

Finally, Mitch McLeod, director of Silhouette and Marrow, dives into how a detailed shotlist keeps his productions efficient and focused. He talks about identifying where coverage is crucial, planning the “fun” shots, and the energy that comes alive on set when everything comes together to nail the perfect frame.

This episode is all about collaboration, intuition, and the craft of building your movie one shot at a time — a reminder that even the smallest setups can lead to the biggest cinematic moments.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 New Low-Budget Rebels Episode: The Art of Marketing Your Indie FilmHey Rebels!

In this week’s episode, I’m joined by some amazing filmmakers to dig deep into one of the hardest parts of indie filmmaking — getting people to actually watch your movie.

• Traci and Jon Russell Cring talk about how filmmakers can get creative with marketing, involve their audiences in promotion, and use their unique voice as a selling point to build real connections and get people out to screenings.

• Max Remmler dives into the power of titles and posters — how small changes can make your film more accessible, memorable, and easier for audiences to find.

• Ricky Glore shares the success and failures of attempting to take his movie on tour with Troma, booking screenings across indie theaters, and finding the right balance between appealing to a specific genre while still telling your own story.

• Mitch McLeod and I wrap things up by discussing festival strategy, how to engage people to leave reviews, and experimenting on social media in ways that actually get attention.

Every one of these conversations is packed with honest, practical insight — the kind of stuff that helps filmmakers like us not just make movies, but get them seen.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, and go check out the IndieGoGo for Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most crucial — and often overlooked — parts of filmmaking: building your audience. Making a great film is only half the battle; finding the people who’ll connect with it, share it, and keep you creating is the real challenge. Today’s guests open up about how they discovered their audiences, how their expectations changed once the film was finished, and how that process shapes what they make next.

First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about making the movie for yourself first — and then realizing your audience might be completely different than you imagined. We discuss learning to pivot, finding where your film truly belongs, and navigating both distribution companies and self-distribution paths.

Next, Trenton Judson, director of Bad B*tch, joins me to talk about trusting your gut. He dives into making the kind of films he personally loves and having faith that others out there share that same weird, passionate taste.

Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to explore how feedback from your audience — whether it’s festival screenings, reviews, or critiques — can evolve your film even after it’s finished. We also talk about why festivals are such an essential way to grow your audience and get the word-of-mouth rolling.

Finally, Dennis Cahlo, director of The Trouble with Tessa, discusses how knowing your distributor or target audience early on can shape how you build the film itself — from tone to genre to marketing. He also shares how trusted viewers giving notes can influence the artistic decisions you make in the final cut.This episode is all about connection — finding the people who get what you’re doing and using that energy to keep creating, growing, and getting your work seen.

Thank you so much for supporting Low-Budget Rebels! Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Jason Zink – Looky-Loo
• Trenton Judson – Bad B*tch
• Jaysen Buterin – Kill Giggles
• Dennis Cahlo – The Trouble with Tessa

More conversations with bold, independent filmmakers are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most transformative stages of filmmaking: editing. When you finally sit down with your footage, the real story emerges — tone, pace, and emotion all come together in the cut. Today’s guests share how they approach the edit as both a creative playground and a problem-solving tool, shaping their films into their strongest possible versions.

First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about the meticulous planning required for found footage films and how to make sure the edit feels authentically first-person while still telling a compelling story.

Next, Trenton Judson, director of Bad B*tch, joins me to discuss analyzing your footage with a critical eye — what to cut, what to keep, and how studying other films can guide your tone. We also dive into choosing takes for action sequences and effects shots, and the tough decisions that come with shaping a final cut.

Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to talk about layering your film in post — from score and color to sound design — and the importance of trusting your editor to understand and elevate your vision.

Finally, Dennis Cahlo, director of The Trouble with Tessa, shares why having a fresh set of eyes on your cut can be invaluable. We also discuss finding the right tone during production so that color, mood, and performance all translate seamlessly into the edit.

This episode is all about seeing your film anew in the editing room — finding its true shape, refining its tone, and discovering the story you’re really telling.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Jason Zink – Looky-Loo
• Trenton Judson – Bad B*tch
• Jaysen Buterin – Kill Giggles
• Dennis Cahlo – The Trouble with Tessa

Stay tuned for more conversation about the craft of low-budget filmmaking, keep kicking ass, making art, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most crucial parts of indie filmmaking: working fast and smart on set. When time and money are tight, preparation, communication, and creativity become the tools that keep your project alive. Today’s guests share how they maximize efficiency, adapt when things go wrong, and keep their sets moving without losing the heart of their films.

First up, I talk with Dennis Cahlo, director of The Trouble with Tessa, about the importance of communicating clearly with your crew and collaborators, knowing where you need help, and finding the right people who can elevate your vision.

Then I sit down with Jaysen Buterin, writer and director of Kill Giggles, to dig into the value of walkthroughs, prepping your blocking, and setting an atmosphere that keeps your cast and crew sharp, energized, and creative.

Next, Trenton Judson, director of Bad B*tch, joins me to talk about what to do when things go wrong on set, how to pivot quickly, and why casting people who understand the objective of the film can save precious time.

Finally, I chat with Jason Zink, the filmmaker behind Looky-Loo, about embracing the edit while shooting, discovering the good in the moment, and using subtle nuances to enhance the film in ways only low-budget filmmaking can offer.

This episode is all about efficiency, adaptability, and keeping your creative energy flowing no matter the challenges. With the right mindset and preparation, you can make every day on set count — and make your film shine.

Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Dennis Cahlo – The Trouble with Tessa
• Jaysen Buterin – Kill Giggles
• Trenton Judson – Bad B*tch
• Jason Zink – Looky-Loo

More conversations with bold, independent filmmakers are on the way — stay tuned, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re tackling one of the most important skills in indie filmmaking: building a film around what you have.From choosing the right location to balancing ambition with practicality, today’s guests share how they shape their movies by leaning into their resources — not fighting against them. We talk about making the most of time and space on set, finding creative solutions when money is tight, and how passion fuels projects when budgets can’t.

First up, I talk with Trenton Judson, director of Bad B*tch, about the realities of using your environment as a character in itself and how limitations can fuel creativity.

Then Dennis Cahlo, director of The Trouble with Tessa, joins me to discuss building projects around accessibility, collaboration, and letting necessity inspire story choices.

Next, I sit down with Jason Zink, the filmmaker behind Looky-Loo, to dig into how he embraces small resources to tell big stories and why scaling to your means can actually improve your film.

Finally, Jaysen Buterin, writer and director of Kill Giggles, talks about tailoring your script to what you have in front of you, avoiding wasted time on set, and keeping the vision intact while staying realistic.

This episode is all about turning limitations into strengths and showing that with the right mindset, passion, and creativity, you can craft something unforgettable without waiting for a big budget.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Trenton Judson – Bad B*tch
• Dennis Cahlo – The Trouble with Tessa
• Jason Zink – Looky-Loo
• Jaysen Buterin – Kill Giggles

More conversations with bold, independent filmmakers are on the way — stay tuned, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re focusing on one of the most visually exciting — and challenging — parts of filmmaking: finding the best shots. From building a shot list to collaborating with your DP, blocking scenes, and adapting on the fly, today’s guests share how they craft compelling visuals while navigating the constraints of indie filmmaking.

First up, I talk with Alex Kahuam about his approach to planning and executing shots for his single-take thriller Failure. We dig into the preparation needed to make every frame count, how to coordinate with your DP under pressure, and why flexibility is crucial when perfection isn’t possible.

Next, Spooky Madison joins me to discuss her process for blocking actors with the camera in mind, and how she works with her DP to bring energy and personality to every setup. We also talk about making creative decisions on the fly while keeping the film’s visual tone consistent.

Then I’m joined by Dillon Brown, who shares how he approaches shot planning for found footage horror. Dillon breaks down the delicate balance between “planned chaos” and true improvisation, and how letting the camera feel like part of the world heightens tension and realism.

Finally, I wrap the episode with Michael Pierro, director of Self Driver. Michael talks about the logistics of running and gunning in small spaces, the importance of efficiency when building a shot list, and finding creative solutions when the perfect shot isn’t possible.This episode is all about the visual side of storytelling — blocking, working with your DP, adapting under pressure, and making the most of your time on set to capture the shots that will make your story shine.

Thank you so much for supporting Low-Budget Rebels. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join.

And be sure to follow and support this episode’s amazing guests:
Alex Kahuam – kahuamfilms.com | @alexkahuam
Spooky Madison – @finalghoulfilms | Final Ghoul on YouTube
Dillon Brown – @horrornerdproductions | Films on Tubi and Amazon
Michael Pierro – @m_pierro

More conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re digging into the heart of filmmaking — directing actors and finding authentic performances. From casting the right people to running rehearsals, to supporting your cast through the challenges of shoot days, today’s guests share how they create the conditions for great performances, even on limited budgets.

First up, I talk with Alex Kahuam about his approach to working with actors on his single-take thriller Failure. We get into the unique challenges of one-take filmmaking, how to keep performances consistent over long stretches, and how to give actors the confidence to take risks.

Next, Spooky Madison joins me to discuss building trust with your cast, creating a comfortable environment, and allowing for collaboration while keeping the tone of the film intact. We also talk about how rehearsal can open the door for unexpected discoveries on set.

Then I’m joined by Dillon Brown, who shares how he approaches directing actors in found footage films, where improvisation and naturalistic performances are key. Dillon talks about creating believable tension without over-directing and letting his cast lean into their instincts.

Finally, I wrap the episode with Michael Pierro, director of Self Driver. Michael shares his process for casting actors who can bring authenticity to heightened sci-fi situations, as well as strategies for helping performers adapt quickly in tight shooting schedules and small locations.

This episode is all about the director–actor relationship — casting, rehearsals, on-set communication, and creating the space for great performances that serve the story. Thank you so much for supporting Low-Budget Rebels. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join.

And be sure to follow and support this episode’s amazing guests: Alex Kahuam –
kahuamfilms.com | @alexkahuam
Spooky Madison – @finalghoulfilms | Final Ghoul on YouTube
Dillon Brown – @horrornerdproductions | Films on Tubi and Amazon
Michael Pierro – @m_pierro

More conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious. Cheers,
Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re diving into a part of filmmaking that’s often overlooked but absolutely essential — sound design. From capturing clean dialogue on set to mixing score and building tension through sound, this week’s guests share how they approach audio on tight schedules and tighter budgets.

First up, I talk with Spooky Madison about building strong communication with your sound team and being aware of audio issues before they become problems. We also discuss what it’s like to mix and master your own projects early on, and how that DIY mindset can give you more control and creative freedom.

Next, I’m joined by Alex Kahuam, who breaks down how he captured clean audio during the intense, one-take production of Failure. We also dig into the role of score in storytelling, and how music can shape the emotional rhythm of a film when used with intention.

Then I sit down with Dillon Brown to talk about sound design in found footage horror. Dillon shares how using directional audio and tonal shifts can heighten scares, build tension, and sell the realism of a scene — especially when you’re working with minimal visual effects or coverage.

Finally, I wrap the episode with Michael Pierro, director of Self Driver. We talk about the importance of planning ahead to capture usable sound in tight locations and fast shoots, as well as the creative side of post — including recording foley and maintaining consistency across a film’s soundscape.

This episode touches on everything from prepping for sound on set to mixing score, creating tone, and layering foley, showing how much audio influences the final product — and how indie filmmakers can use sound to elevate their work, even on a budget.

Thank you so much for supporting Low-Budget Rebels.Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join. And be sure to follow and support this episode’s amazing guests:

• Alex Kahuam – kahuamfilms.com | @alexkahuam
• Spooky Madison – @finalghoulfilms | Final Ghoul on YouTube
• Dillon Brown – @horrornerdproductions | Films on Tubi and Amazon
• Michael Pierro – @m_pierro

More conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels! We’re kicking off Season 6 with a deep conversation about finding your genre, defining your storytelling process, and building creative momentum even when things get tough. I’m joined by four incredible filmmakers — each with a unique approach to writing, directing, and creating personal, impactful films on a budget.

First up is Alex Kahuam, director of Forgiveness and the one-take thriller Failure, starring Ted Raimi. Alex and I talk about choosing a subject that resonates deeply, especially when you know you’ll be living with it through the entire filmmaking process. Then I’m joined by Spooky Madison, an actress, writer, and director whose upcoming film Fiber Burn and writing on What’s Wrong Wendy reflect her collaborative, music-driven approach. We discuss how writing in a freeform way can open the door to on-set discoveries, creative rewrites, and trusting the interpretations of your cast and crew.

Next is Dillon Brown, the filmmaker behind the Tahoe Joe series and The Summer We Died. He shares how he outlines found footage films, sticks to personal genre instincts, and navigates the pressures of creating in an age of instant online reactions and reviews. We also talk about staying true to your voice while making something entertaining and marketable. Finally, I wrap the episode with Michael Pierro, director of Self Driver, a low-budget sci-fi thriller that recently won awards at Fantasia Fest. Michael and I dig into how life experience and personal ideals shape story structure, how to follow a creative framework while breaking rules when necessary, and how to balance audience appeal with originality.

Some of the big themes that came up throughout this episode include choosing a genre that speaks to you, writing with flexibility and openness to collaboration, rehearsal techniques and directing performance, planning complex shots and long takes, and making films that are both personal and marketable.

Thank you so much for supporting Low-Budget Rebels here on Patreon. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join.And be sure to follow and support this episode’s amazing guests:

• Alex Kahuam – kahuamfilms.com | @alexkahuam
• Spooky Madison – @finalghoulfilms | Final Ghoul on YouTube
• Dillon Brown – @horrornerproductions | Films on Tubi and Amazon
• Michael Pierro – @m_pierro

More conversations with bold, independent filmmakers coming your way this season — stay tuned, and stay rebellious.

Cheers,
Josh

On a bonus episode of Low-Budget Rebels podcast, I sat down with Alex Kuhuam to discuss his new impressive, one-take movie FAILURE! starring Ted Raimi.

In this episode we discuss finding a genre and story that speaks to you, making a single-take movie, writing for your cast, blocking and planning for the best shot possible, directing a crew during production, finding the best performances and utilizing the rehearsal process, tricks to getting the best sound design on set, and more.Check out Alex's film FAILURE! now available on all Apple+, Fandago at Home, and other platforms.

Find out more at alexkahuam.com  And join the conversation and be a part of the FLUSH community by heading over to our discord today! https://discord.gg/TzGYXdJw

Cheers!
Josh

🎙️ This Week on Low-Budget Rebels

My good pal and co-conspirator, Sean Ashley, aka R. S. Trashley, joined me to talk about his latest films, Old Man Slaughter and El Ron.

We also talked about what's happened since our first conversation way back in July of 2019, how to get your movie in a theater, the challenges of pulling together a community, and the process of working collaboratively with your peers on a set.

Check out Sean's Homicide McLeod at https://www.homicidemcleod.com/ and follow Sean at @rstrashley on Instagram!

From the bottom of my heart, thank you to everyone who has supported this show in season 5! Talking to so many filmmakers was incredible, and I learned so much from hearing about their experiences. I look forward to diving into Season 6 after a little break. If you have any specific topics you'd like me to discuss with the indie filmmaking community, let me know!

Cheers,
Josh

🎙️ This Week on Low-Budget Rebels

I was joined by filmmaker and editor Allan Piper to talk about his new movie EVIL SUBLET.

We discuss mixing horror with comedy and the art of surprising the audience, the benefits of working with film, and the challenges that can arise on a film set. We also talked about the gaps between projects, self-funding, ways to adapt and utilize what you have at your disposal, and the joys of screening your movie with people who don't generally watch the types of movies we've made.

Allan and I also discuss his experience on his first film STARVING ARTIST and follow-up documentary MARRIED AND COUNTING.

Check out EVIL SUBLET now on Amazon, Fandango, and Spectrum, and follow Allan at @apiper13!

Cheers,
Josh 

🎙️ This Week on Low-Budget Rebels

I was joined by Ian Martin to discuss his film Cooke Concrete. This unique and methodical film stands out in the low-budget scene, showcasing a sincere commitment to its vision. Blending genres, Cooke Concrete consistently surprises with bold stylistic choices and innovative filmmaking techniques.

In our conversation, Ian and I explored ways to the right tone for your film, understanding your creative process, the early experiences that shape our storytelling, unique distribution opportunities through streaming, and the importance of personal storytelling.

We also chatted about the intriguing mystery behind Cooke Concrete, crafting a film with intentional pacing, and encouraging audiences to engage with a central question early on.

This and so much more!

Make sure to check out Cooke Concrete, available on Tubi, Amazon, and Hoopla:
https://tubitv.com/movies/682678/cooke-concrete?start=true


Follow Ian Martin at ianmartin.works or on Twitter @ianmartinhello.

Cheers,
Josh

On today's episode of Low-Budget Rebels, I chatted with director Garry Medeiros and producer Walter Rivero about their film Plaga Zombie: American Invasion, a comedy zombie movie filmed with hilarious camp, nasty jokes, and a relentlessly fun style.

We discuss the process of being able to make a sequel to a cult camp film and why this movie seemed like the right first for the team. We also talked about the styles and movies that influenced their passion for filmmaking, finding locations and people to help with visual effects, finding the motivation to keep going when things hit rock bottom, scheduling, and tricks we've learned over the years making projects on minimal budgets.

Make sure to follow Plaga Zombie: American Invasion on Instagram at @plagazombi.4 and check the movie out on TUBI. To learn more about their upcoming film Sins of the Devil follow @sinsofthedevil24 on Instagram!

Cheers,
Josh

On this week's episode of LOW-BUDGET REBELS, I sat down to chat with director and amazing human Dusty Austin. We discussed her new movie The Beast of Walton St. and how a love of visual effects led to experiments with film and made the process seem possible.

We also discussed finding the genre you prefer, self-discovery of the type of director you want to be,  the challenges of adapting on set when things go wrong, taking the "No's" you receive as possibilities, and trying to balance what you can do to help the independent film community while also creating your own art.Make sure to follow Dusty online and keep an eye out for The Beast of Walton St. this November from Scream Team Releasing!

CHEERS!
Josh

In this episode of Low-Budget Rebels Podcast, I had a cup of coffee and chatted with Facing East and This Must Be It director Tommy Baker.

We discussed working with his brother at Half Brothers Media, a production company that they started together, and how they balance contract work with creative ideas. We also talked about how making a film is similar to being in a band, the benefits of learning the craft doing behind-the-scenes projects, getting access to locations that you have available, knowing your role in a specific project, and using the knowledge you've gained throughout your life to write a story you know.

This and so much more!

Make sure to check out https://halfbrothersmedia.com/ to find out more about Tommy's films and creative work.

Cheers,
Josh

This week I sat down on two occasions (thanks Hurrican Helene) to chat with filmmaker and genuinely nice guy Tate Hoffmaster about filmmaking and his new movie Pizza Guy 8.

We also discuss working with VHS and other media to create art, Troma and its influence on low-budget filmmaking, assessing criticism of films, and things we've learned on set. We also talk about our scripting process and improvising ideas. This and so much more! Ch

eck out Tate's work at https://www.youtube.com/@GuyBacon13 and follow him on social media @xfilescabinet

Have a great week and don't let your meat loaf!
Josh

I had the pleasure of hopping on a call with Micah Khan and discussing his new feature film The Zombie Wedding. Unrelated, but I also had my mic backward the whole time I recorded like an absolute moron. Technical difficulties aside, it was still a wonderful conversation and I hope you all can handle my very hollow-sounding microphone for a week. I hope to not have this issue again for at least a few episodes. Oh the joys of working in a new studio...

Micah and I discussed what it's like to work on projects that we didn't write or are outside of the norm for us, especially projects where you're working with other people's money. We also discuss lost old movies, the cringiness of where you begin and how to enjoy it, Micah's festival that revolves around showing early films, working with your cast and crew, how to fake shots and utilize a small room, and so much more! 

Check out Micah's film The Zombie Wedding - available now to rent or purchase and screening in limited theaters! 

Visit Micah's website to find out more: https://micahazamkhan.com/

Have a great week, everyone! 

This weekend I had the pleasure of chatting with actor and filmmaker Jamie H Jung about all things independent filmmaking!

Jamie and I were both part of the the Rebel Without A Crew: The Series process but in very different capacities. Jamie was an actor in Alejandro Montoya Marin's movie Monday; and on this episode, we compared experiences of what it was like to be on reality TV. Jamie also discusses his adventure in producing his first film The Wedding Night which will be premiering at the Manhattan Film Festival on June 22.

We also discussed the challenges of adapting your project with no money, finding a character, and learning your process through life experiences.

Follow Jamie on social media @jamiehjung and check out more from Jamie at jamihjung.com 

This week I had the pleasure of chatting with writer and director Rob Mabry.If you look at our film's synopsis, you can instantly see that my film Greywood's Plot and his The Legend of El Chupacabra have some things in common. Watching the movies, it's interesting how unique both movies are as well!

Rob and I discussed his rise from early days of playing with cameras, to the break in his filmmaking process and coming back to it through 48 hour film fests and making a plethora of shorts, to eventually making his first feature film. We also chat about Rob's preproduction process, finding the shot in the moment, messy effects shots, and the fun of creating monsters with practical visual effects.This and so much more!

 Make sure to follow @thechupacabramovie to find out more about Rob's movie.

Director Scott McElroy came on the show to discuss his feature film Fey, a twisting, independent psychological-thriller about a rock band that goes to a secluded studio to record their album and finds out they may be in for more than creating tunes and drinking booze.

We discuss a wide variety of independent filmmaking topics including how to direct when you don't have technical knowledge, building a friend and family group that you can call on for help when it's time to get out and make a movie, and tricks for taking advantage of sound design to build the mood. We also chatted about music and how other forms of art beyond filmmaking help to build storytelling and structural style when it is time to make a feature length movie.

Make sure to follow Fey on social media @feythemovie on instagram and stay tuned for the release of this truly independent, twisted flick!

Even with the busy holiday weekend, I was able to chat with two indie filmmakers who've made some interesting movies and are looking to take them out to theaters and try a new model of low-budget film distribution.

While they're called The Farx Brothers, you'll find out early in this episode that they are not actually brothers. Nick and Kyle are two Minnesota based filmmakers creating short form movies and proof of concept videos. We discuss their background, how they each bring different ideas and style to the projects they make, and new ideas about how they want to distribute their films this year.

They also discuss four walling, new projects, and working in the industry versus having a day job outside of filmmaking.

This and much more!

I'm in my studio and recording new episodes of Low-Budget Rebels Podcast! For my first episode in the new studio, I have Romeo's Distress director Jeff Frumess on to talk about what he's been up to since the last time we chatted on the show.

Not only has he been running his patreon page and youtube channel, he's also directed a new film called Gouge Away, and created a gonzo style documentary using diaries and home videos called Kuyashii Gonzo: Blood Visions and Chaos Magic! We also discuss a wide range of topics from the process of finishing a feature and setting deadlines to the benefits of table readings to how important it is to find a way to distribute your own projects in the modern era of film. 

Head over to https://www.frumess.com/ to learn more about where you can see Jeff's films.

Follow Jeff on Social Media:
X : https://x.com/Jfrumess
Instagram: https://www.instagram.com/screaminjfrumess/

Check out more from Low-Budget Rebels and hear all the episode ad free at patreon.com/flushstudios 

Cheers,
Josh

On this episode of the podcast, Josh Stifter sits down for a conversation with returning guest Taylor Morden. They discuss what has happened since they recorded the last episode, The Last Blockbuster and it's run on Netflix, the challenges of getting projects off the ground, being hired to direct a movie about Build-a-Bear Workshops, and Taylor's newest adventure in crowdfunding with his horror/comedy Bampire! 

Make sure to go over to bampiremovie.com and help support this fun and unique take on indie monster movies. 

Follow the film on social media @bampiremovie

Cheers!

On this episode of the podcast, I had the pleasure of chatting with Michael J Epstein. In his second appearance on the show, he discussed the movies he's directed since the pandemic. Experimenting with mocumentary mixed media projects that included short scenes from other filmmakers during the pandemic and mocumentaries, Michael and his partner Sophia Cacciola have made three incredibly experimental films including The Transformations of the Tranformations of The Drs. Jenkins, The Once and Future Smash, and End Zone 2. We discuss the making of these films, how the pandemic effected them, and the process of distibution for these truly independent features.

Make sure to check out the kickstarter for the release of The Once and Future Smash here: https://launchover.com/launch/film/the-once-and-future-smash/

And follow Michael J Epstein on social media by going to launchover.com

Cheers,
Josh

This Is Your Song is a beautiful, sad, and completely unique film about relationships gained and lost.

I had the pleasure of sitting down with independent filmmaker Hassan Said to talk about the process of making such an ambitious film. Filmed as one long take, the movie tells a story that many of us can relate to - but also will impress the hell out of all you indie filmmakers.

We discussed the casting process, the massive endeavor that is filming large takes, things that can go wrong on a film like this, and why his director of photography had to build her core before production. Six weeks of rehearsal and preproduction, screenings of the film, getting permits for the shoot, color correcting a movie for mood, distribution of a film like this, and finding the right locations are just some of the topics we discuss! Make sure to follow Hassan Said by checking out his website at https://hassansaid.com/ and look for THIS IS YOUR SONG through Indie Rights available now!

Have a great week, everybody!

Cheers,
Josh Stifter

On this weeks episode of Low-Budget Rebels, I had the pleasure of talking with first time feature filmmaker of the new sci-fi comedy Love Virtually L.E. Staiman and his co-writer Cheston Mizel.

We discussed how they got into making movies and why a comedy about the Metaverse seemed enticing. They tell me about the writing process and how it came together during the Covid quarantine, what the biggest challenges were, and how the process of editing this movie challenged them. They also discuss the benefits and shortcomings of relying on visual effects and animation and how Cheston learned animation based on the needs of the film.

This and much more!

Love Virtually is releasing November 7th on digital and on demand.

Cheers,
Josh

I am so excited for you all to hear this weeks episode of Low-Budget Rebels!

My friend Anthony Cousins hopped on the show to talk about his new film FROGMAN and the shorts that helped him get to where he is. We discussed the movies and t.v. shows that introduced us to the world of filmmaking, his decision to pursue filmmaking, and the sacrifices that you have to make to do what you love. We also discuss the challenges of moving from short films to features and the inspiration behind the stories we tell, working with collaborators, and the challenges that come with making a found footage film. This and so much more!

Make sure to follow Anthony on instagram at @cousins_anthony, check out his short films and segments from the SCARE PACKAGE films, and keep an eye out for where you can see FROGMAN!

Have a great week, everybody.

Cheers,
Josh

Happy Monday!

And we're rollin' into it with a brand new podcast episode. Liz Manashil is a wonderfully different type of director than the folks I usually get on the show. Her two features, Bread & Butter and Speed of Life, are fascinating character studies that are not only low-budget inspiring but a type of movie that makes me want to work outside of the box. She also was the kind of candid chatter that I LOVE to have on the show. She discussed growing up as a precocious and quiet child, the anxiety that comes with filmmaking, and balancing being a parent with creating art. She also discussed going to film school at USC, working with actors, and the benefits of doing shorts as well as features.

All of this and so much more.

Make sure to follow her on twitter @LizManashil and check out her films Bread and Butter and Speed of Life, available now on Amazon and other streaming sites.

Also, head over to speakpipe.com/lowbudgetrebels and leave me an audio message! Ask questions, leave indie film reviews, and have your voice heard!

Cheers,
Josh

I've decide to release this episode early for everyone so that we can help get the word out that the amazingly talents and interesting Izzy Lee is making a feature film and needs your support!

Izzy Lee is a visionary low-budget short film director who is embarking on the adventure of creating her first feature length horror film called House of Ashes. You can help donate to the campaign today by going to : https://www.kickstarter.com/projects/izzylee/house-of-ashes-a-horror-feature-film-by-izzy-lee

In this episode, Izzy and I talk about the social issues that had her go from acting, journalism, and illustration to directing her very large catalogue of short films. We also talked about the challenges in making low-budget films, the joy of learning on each different shoot, and crippling terror that comes along with crowdfunding. She also discuss taking part in Sundance Collab courses, the fear of not being ready to take on larger projects, and the benefits of networking at film festivals. We also dive deep into the crowdfunding process and what you can learn from the process. All this and so much more!

Make sure to check out everything Izzy is doing at https://www.nihilnoctem.com and make sure to follow her social profiles there as well!

Cheers,
Josh

Happy Monday!

On this weeks episode, I talked to RUB director and writer Christopher Fox about his style of filmmaking. We discussed his start in audio recording and engineering, along with playing in bands, and how it led him to making movies. We also chat about the writing process, wearing multiple hats on a movie set, the few positive things that can come creatively from utilizing AI, watching movies that inspired us as kids, finding ideas for films in your reality, hunting down sets that you know you have access to, the early work that motivated us to keep trying, and reassessing our goals, especially during the pandemic. This and so much more. Remember to send your audio messages into speakpipe.com/lowbudgetrebels and if you have any questions or comments, send them to flushstudios@gmail.com!

Follow Christopher on social media @cfoxv1027 or on facebook @christopherfox

Watch RUB on VUDU: https://www.vudu.com/content/movies/details/title/2436406

Have a great week.
Cheers,
Josh

Hey, everybody. It's time for another Low-Budget Rebels conversation!

In this episode, Rob Hagans and I sat down to chat about his films and the process of making them. Rob is the talented DIY filmmaker behind indie films such as Barbara and Around the World. We discuss filmmaker gear and the ability to use what you have to bring your stories to life, how the low-budget film medium allows for you to make raw and unique films, the joys of American filmmaking and the ability it grants low-budget filmmakers to have so much at their disposal, and how to get away with run n' gun filmmaking with a small crew. We also discuss Rob's background and the wild jobs that brought him into the type of films he makes.

This and so much more. Make sure to follow Rob on social media at @BspectacledMofo Check out his youtube channel for a lot more filmmaking content: https://www.youtube.com/@BespectacledMofoHave a great week.

Cheers,
Josh

Happy Monday, everyone!

On this weeks LOW-BUDGET REBELS, I chatted with the wonderful producer of FAITH BA$ED - Luke Barnett. I've chatted with Luke a bit on social media and we've tried to put together an episode for awhile but it's finally come together into one of the most informative podcast episodes to date!Luke and I discussed the shift from focusing on acting to producing and what lead him to making his movie Faith Ba$ed the way that he and his team did.

He talks about his start at Funny Or Die and how it lead him into writing and producing. What film festivals are helpful in distribution of your film, how ideas get put on the "backburner", finding cast that elevates your film, how agencies can help you get your movie into the right festivals, low-budget distribution, and new methods for funding your films are only a few of the topics we tackle in this jam packed episode.

Follow look on social media @lukebarnett

Check out Faith Ba$ed at https://www.amazon.com/Faith-Based-Luke-Barnett/dp/B08KGRJJMR

Have a great week, everybody!
Cheers,
Josh

We're back with a brand new season of Low-Budget Rebels podcast!

In this episode, I sat down with the director of an interesting dark comedy called THE IMPROVISOR to talk about his film, the process of making it, and what he learned about filmmaking along the way. We discuss the early stages of finding inspiration and attempting to learn the craft of storytelling, the amount of time it can take to create a low-budget feature, ways to work with your cast and crew when you don't have a large budget, and tricks to pulling people together to get the most out of your film. Daniel also discusses working with his partner and the distribution process with Indie Rights. This and so much more!

Check out The Improvisor here: https://tubitv.com/movies/659154/the-improviser?start=true&tracking=google-feed&utm_source=google-feed

And follow along with everything Daniel is making at https://rebellensfilms.com

Cheers,
Josh

We've reached the end of Season 4!

On this episode, I was joined by the highly recommended Roman Jossart. He's directed multiple feature films and produced a plethora of content over his short but prolific career in indie horror. In this episode, Roman and I discuss those early days of having the realization that, 'It's time to just go make a movie!'

He tells the tale of how he gambled on himself and bought his first gear to make his first feature (without ever making a real short!) and how his friend who convinced him backed out of the production. He also discusses how Tim Burton's films inspired him, learning from youtube videos, buying his own gear to build his production company, and starting 605 Films.

This was an absolutely wonderful episode and I really hope to have Roman back on sometime during Season 5 of LOW-BUDGET REBELS. Make sure to follow Roman and his company 605 Films!

Twitter: @Studio605films
Facebook: https://www.facebook.com/studio605productions
Instagram: @studio605

Cheers,
Josh

It's time once again for another Low-Budget Rebels podcast.

On this week's episode, I had a blast chatting with U.K.-based filmmaker Daniel Pacquette. Daniel has been a part of many productions (including one of my favorite films ever!) and has made low-budget features such as the romantic comedy Ghosted. In this episode, we talk about balancing creativity with practicality, the plight of the independent filmmaker to overcome falling into only seeing our faults but instead, learning to grow, and the building blocks that you can learn from on every project. We also talk about self-motivation and the passion that has to go into every project, even when you aren't ever sure of the outcome. Daniel also tells the story of how he was inspired by hardware to become a filmmaker.

While the audio quality of this episode is a little lower than normal, I thought that this episode was one of the most inspirational I've ever done. Daniel is a wealth of knowledge on creative thinking! Make sure to check out Daniel's film Ghosted!

Cheers,
Josh