Explore every episode of the podcast Off The Lot: The Indie Filmmaking Podcast

What if you stopped waiting for someone to finance your movie and just made it yourself?

Filmmaker Brayden DeMorest-Purdy did exactly that, creating his new sci-fi horror feature, ENCRYPTION, for approximately $15,000.

After years of pitching bigger-budget projects and waiting for the green light, Brayden decided to take back control. He wrote a series of found-footage horror shorts he could finance himself, assembled a small team of trusted collaborators, and eventually connected them into a feature film that premiered at the Vancouver Horror Show Film Festival.

Anthony Epp sits down with Brayden to discuss what it really takes to make a feature film with almost no money, why creative freedom matters more than ever, and how independent filmmakers can stop waiting for permission to tell their stories.

In this episode:

• Why Brayden stopped pitching and started financing his own films
• How five found-footage horror shorts became one feature
• Making a feature film for approximately $15,000
• Working with established actors Alex Zahara, Megan Charpentier, and Karin Konoval on a microbudget production
• Shooting horror with consumer cameras, iPhones, and practical effects
• How to make a small crew and limited resources work in your favour
• The challenges of editing and distributing a DIY feature
• Why the screenplay is still the most important part of filmmaking
• Building a sustainable production company while maintaining creative control
• Why filmmakers need to stop waiting for permission and just start shooting

Brayden also shares lessons from his previous feature, BEYOND THE WOODS, his plans for an ENCRYPTION sequel, and why making movies on your own terms can be the most rewarding way to build a filmmaking career.

Website: https://offthelotpodcast.com

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Why is it so difficult to finance, produce, and distribute an independent film in Canada? And are film festivals actually helping indie filmmakers build sustainable careers?

In Episode 72 of Off The Lot, filmmakers Ken Kabatoff and Anthony Epp reunite for a candid conversation about the realities of independent filmmaking, from getting a movie financed to getting it in front of an audience.

Fresh off the sold-out Canadian premiere of his debut feature REMNANT at the Vancouver Horror Show Film Festival, Ken shares what he's learned about the festival circuit, the challenges of releasing a privately financed Canadian film, and why he ultimately had to look to American investors to get his movie made.

The conversation turns to the larger problems facing Canada's film industry, including government funding, private equity, distribution, and the difficulty of creating a commercially sustainable industry for Canadian filmmakers.

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Why do so many Canadian independent films struggle to break through internationally? And what does it actually take to get a feature film made in Canada?

This week on Off The Lot, we're joined by filmmakers Hayley Gray and Kaayla Whachell, the co-writers and co-directors of Send the Rain, which recently had its world premiere at the Vancouver International Film Festival (VIFF).

What started as an award-winning short film became a feature about family, responsibility, and the pull of home, set against the threat of a wildfire in British Columbia.

We get into the realities of taking a short film to feature length, navigating financing and shrinking budgets, and what happens when two directors share creative control over the same movie.

But the conversation also goes much further.

We tackle some bigger questions about Canadian filmmaking: Why do our films struggle to reach international audiences? Are we developing the wrong production habits? And how do we build a sustainable independent film industry when filmmakers are constantly being asked to sacrifice their own time and money?

In this episode, we discuss:

• Turning an award-winning short into a feature film
• The challenges and advantages of co-directing
• Securing financing through the Canadian film system
• Making creative decisions when the budget gets smaller
• Directing non-professional actors and finding authentic performances
• Why Canadian films struggle to find international audiences
• The relationship between Canada's service production industry and independent filmmaking
• Building a positive, collaborative film set
• What first-time feature directors should know before getting started

Whether you're developing your first feature, navigating film financing, or trying to build a sustainable career as an independent filmmaker, this conversation offers a candid look at what it takes to get a movie made.

Subscribe for new conversations with filmmakers working to get their movies made.

You made your first feature film. Now what?

According to research by film industry analyst Stephen Follows, only about 1 in 4 first-time feature directors makes a second film within five years.

So why do so many filmmakers struggle to get their second movie made?

In Episode 70 of Off The Lot, Anthony Epp breaks down the numbers behind filmmaking careers and explores why getting your film SEEN might be more important than getting it made.

Because the reality is that a great film nobody watches may do less for your career than a good film that finds an audience.

In this episode, we cover:

• Why so few first-time directors make a second feature
• The relationship between audience visibility and career longevity
• Why film festivals and distribution deals aren't enough
• How to build your first 1,000 engaged viewers
• Why marketing should begin before production
• Lessons from indie successes like Hundreds of Beavers and RocketJump
• Practical, low-budget strategies for getting your film in front of audiences

We also look at what Canadian independent filmmakers can do differently to build audiences and create sustainable careers outside the studio system.

THE BIG QUESTION: If you've made a feature film, how many ratings or reviews does it have? And what's actually worked to get people watching?

Tell us in the comments. We'd love to hear your experience.

Off The Lot is the podcast for filmmakers building careers outside the studio system.

Hosted by Ken Kabatoff and Anthony Epp.

For questions, stories, or inquiries: podcast.offthelot@gmail.com

What do you do when the traditional path to making your movie keeps saying no?

This week on Off The Lot, Anthony sits down with actor, writer and producer Jovanna Burke to talk about what she’s learned after more than 20 years working in film and television — and why rejection may actually be one of the most important parts of building a sustainable filmmaking career.

Jovanna opens up about transitioning from actor to producer, learning the business and financing side of filmmaking, building trust with investors, and the idea of pursuing “1,000 rejections” instead of being afraid of hearing no.

They also dig into the realities of making films in Canada: the limitations of relying entirely on public funding, why international co-productions could create new opportunities for Canadian filmmakers, and how we can build more Canadian-owned companies, IP and talent instead of relying exclusively on the service-production industry.

Jovanna also discusses her psychological supernatural horror feature Nuesta, currently being developed through the Whistler Film Festival Producers Lab, and her plans to build a production company connecting Canada with Latin America.

In this episode:

• Why filmmakers quit too early after rejection

• The “1,000 rejections” approach

• Going from actor to producer

• Building trust with film investors

• Why every producer needs to understand financing

• The limitations of Canada’s traditional funding model

• How international co-productions actually work

• Building Canadian-owned film and television IP

• Why starting embarrassingly small can be an advantage

• The importance of running toward the things that scare you

Off The Lot is the podcast for filmmakers building careers outside the studio system.

Why do some indie films actually get made while others spend years stuck in development?

In this episode of Off The Lot, Anthony breaks down the stages an independent film goes through between having a screenplay and actually getting the movie greenlit.

We cover what you should be working on at each stage — and, just as importantly, what you probably shouldn't be doing yet.

You'll learn:

• Who you need around you before you start raising money

• When to spend your own development money

• How much financing you should have before approaching cast

• When a casting director actually becomes useful

• When to start talking to distributors and sales agents

• Why attachments can create leverage — or hurt you if you approach them too early

• The difference between momentum and actual progress

• Why you shouldn't build your finance plan around grants

• When a movie can realistically be considered greenlit

• What to do when your project has been stuck for months — or years

Film development isn't one giant leap from screenplay to production. It's a series of smaller steps, with each one creating enough leverage to unlock the next.

The key is knowing what stage your movie is actually in — and what needs to happen next.

If you're developing, financing or packaging an independent feature, this episode gives you a practical roadmap for getting it closer to production.

Making the movie is only half the battle.

Once your film is finished, you still have to figure out how to get people to actually see it. And if you're still trying to finance your movie, there may be another source of money most indie filmmakers completely overlook: brands.

In this episode of Off The Lot, we look at indie film marketing from both ends of the process.

Ken is finishing Remnant and now facing the next challenge: building enough awareness to actually get audiences into theatres. Anthony is developing Quiet Canadians and exploring how brand partnerships, sponsorships, product integration and social content can help finance a movie before production even begins.

We break down:

• Why indie filmmakers need dozens of pieces of marketing content — not one trailer

• Why audiences may need multiple touchpoints before your movie even registers

• How brands can contribute cash, wardrobe, props, vehicles, locations and production resources

• Why product placement is only one small part of a brand partnership

• How behind-the-scenes content can become valuable advertising for sponsors

• How to identify brands that already want access to your film’s audience

• Why smaller and emerging brands may be better partners than major corporations

• How sponsorship revenue can help de-risk your movie for investors

• Why filmmakers should start thinking about marketing before they ever start shooting

The bigger lesson: don't approach a brand asking them to help you make your movie.

Figure out what audience they're trying to reach — and show them how your movie can help them reach it.

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How do you actually get started as a filmmaker when nobody is giving you money, grants, connections, or permission?

In Episode 66 of Off The Lot, Anthony answers questions from emerging filmmakers about what it really takes to start directing, finance your first projects, break into the industry, and eventually build a sustainable career.

We cover why grants should be treated as a bonus — not a plan, how to make films with the resources you already have, whether filmmakers still need traditional distributors, what micro-budget movies can realistically earn, and why your first feature may be more valuable as a career-building tool than as an immediate financial success.

Anthony also breaks down:

• How to start directing without waiting for someone to hire you

• The biggest mistakes that kill low-budget films

• Why your script, budget and schedule have to match

• Whether applying to Telefilm and other funding programs is worth it

• How filmmakers can build an audience through YouTube

• How to actually get your first job on a film set

• When film markets like TIFF are worth attending

• What filmmakers should realistically expect to earn from a micro-budget feature

• Why making the movie is sometimes only the beginning

The central idea is simple:

Start where you are. Use what you have. Make something. Then make the next thing bigger.

Off The Lot is the podcast for filmmakers building careers outside the studio system.

Subscribe for conversations about independent filmmaking, financing, producing, directing, distribution, and what it actually takes to get movies made.

What does it actually cost to make a $2 million independent feature?

Ken and Anthony break down a hypothetical $2M movie using the Telefilm Canada budget structure and real lessons learned producing Remnant. They go line by line through above-the-line costs, cast, crew, equipment, locations, transportation, post-production, music, financing, tax credits and contingency.

They also get into the costs filmmakers often overlook: actor buyouts, crew fringes, overtime, hard drives, trailers, permits, music licensing, legal fees, interim financing and the deals and relationships required to make a professional film at this budget level.

If you're trying to figure out how much your indie film should actually cost — and where that money should go — this episode is a practical starting point.

Writer-director Nat Boltt joins Off The Lot to break down the decade-long journey behind her feature directorial debut, Holy Days.

The film stars Judy Davis, Jacki Weaver and Miriam Margolyes, topped the box office in New Zealand, and went on to a global theatrical release — but getting there meant surviving years of development, financing setbacks, international co-production challenges, lost investors and an ambitious 26-day shoot.

Nat takes us inside how she landed her cast, navigated funding through Canada and New Zealand, shot complex road sequences using LED stages, and pulled off a major snowstorm sequence with limited resources.

But some of the biggest lessons came after the movie was finished.

We talk about the realities of independent film distribution, why filmmakers are increasingly being forced to build and market their own audiences, what she believes is broken about the current system, and why she plans to approach the release of her next film very differently.

A candid conversation about getting a first feature made, getting it seen, and what indie filmmakers need to understand if they want to build sustainable careers outside the studio system.

I finally made my first feature film.

After years of working in film and television, raising the money, assembling the team, shooting Remnant, going through post-production and now entering distribution, there are things I understand about filmmaking that I simply didn’t before.

In this episode of Off The Lot, Anthony walks me through the entire filmmaking process as I break down five of the biggest lessons I learned making my first feature — from getting the movie financed and casting the right actors, to protecting the magic on set, testing the film with audiences, and thinking about distribution long before the movie is finished.

We get into what actually happens when the plan falls apart on set, why casting can make or break your movie, why filmmakers need to test their cuts, how to know what success means for your film, and why nobody is ever going to care about your movie as much as you do.

If you’re trying to make your first feature film, this is the episode I wish I could have listened to before making mine.

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Harrison Houde and Dakota Daulby spent years trying to get a feature film made. Then a producer called and essentially said: write the movie — we’re shooting it this year.

The result was Tight Lettuce, a bilingual English/French dark comedy inspired by a true story about a son trying to maintain a relationship with his heroin-addicted father. The film went on to premiere at the Fantasia International Film Festival and win the Golden Audience Award for Best Quebec Film.

In this episode of Off The Lot, Harrison and Dakota break down what it actually took to turn the project into their first feature — from originally developing it as a $100,000 short to suddenly having the opportunity to make the full movie.

We get into:

• How a Facebook message eventually became a feature film
• Writing a first draft in roughly a month
• Financing the film outside the traditional Telefilm model
• Making a sub-$2.5M indie feature in 20 shooting days
• Why their 20-day shoot effectively became 16–17 days
• Casting Quebec star Emmanuel Bilodeau
• Combining comedy and addiction without trivializing either
• What they learned from 12–13 cuts of the movie
• Why Harrison says he’d never start another movie with car scenes
• The mistakes they made on their first feature
• Why they now want recognizable cast attached earlier
• What filmmakers misunderstand about theatrical distribution
• The reality of trying to get an indie film onto movie screens

They also talk candidly about the biggest writing problem they discovered in the edit, what they would put in their contracts next time, and the lessons they’re already applying to their next films.

Subscribe to Off The Lot for conversations about what it actually takes to finance, make, finish, and release independent films outside the studio system.

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A great 1st AD doesn’t just keep a film on schedule — they can completely change what a director is capable of accomplishing on set.In this episode Ken and Anthony break down one of the most important relationships in filmmaking: the director and the 1st assistant director.

Ken shares what he learned directing his first feature, REMNANT, including working with veteran 1st AD Pete White, restructuring impossible shooting days, running two units simultaneously, knowing which shots could be pushed, and why the best ADs are much more than glorified schedulers.

Anthony brings the perspective of an experienced 1st AD: how to earn a director’s trust, plan an ambitious shot list around the reality of an indie schedule, manage dozens of departments without creating panic, protect safety without compromising the film, and keep an entire set moving with purpose.

We also break down chain of title — the paperwork every independent filmmaker needs to protect their movie before money, partners, investors, distributors, and competing interests enter the picture.

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Christopher Nolan’s The Odyssey is unlike anything ever put on a movie screen. Shot entirely on IMAX film across oceans, mountains, deserts and ancient landscapes, it is an astonishing feat of physical filmmaking—and arguably the ultimate theatrical experience.But is technical achievement enough to make a great movie?

In this full-spoiler review, we break down Nolan’s adaptation of Homer’s epic, from the Trojan Horse and the Cyclops to Calypso, Ithaca and the slaughter of the suitors. We examine the film’s most significant changes to the original text, including the removal of most of the Greek gods, Odysseus’s altered motivation, the elimination of his defining act of hubris and Nolan’s decision to transform a story about homecoming into one about guilt, trauma and regret.

We also go inside the extraordinary production: enormous IMAX cameras, two-and-a-half-minute film magazines, custom soundproof camera housings, mirrored eyeline systems, real ships and practical environments. Nolan and his collaborators effectively had to invent new filmmaking techniques just to get the movie made.

The result is visually overwhelming and technically historic. But does The Odyssey give us a hero worth rooting for? Did Nolan’s changes weaken Odysseus’s journey? And why does the climactic return to Ithaca feel less emotionally satisfying than it should?

Spoiler warning: This episode discusses the entire film and major events from Homer’s original story.Subscribe to Off the Lot for candid conversations about filmmaking, film financing, production and what it takes to build a career outside the studio system.

Movie theaters aren’t dying. In fact, more people are buying tickets—and the films succeeding are challenging several assumptions Hollywood has made over the last decade.

In this episode of Off The Lot, we examine why theatrical admissions are rising, how longer release windows and a stronger supply of original movies are rebuilding the moviegoing habit, and why audiences no longer simply “go to the movies”—they choose one specific film worth leaving home to see.

We also break down one of the most difficult decisions facing independent producers: does casting a recognizable actor actually help sell an indie film? Ken shares what changed after Kim Coates joined Remnant, including the credibility a known actor can bring—and the hidden production costs that come with hiring one.

Then we discuss Vancouver producer Chris Ferguson and Oddfellows’ new first-look deal with Warner Bros., what their success proves about building a repeatable genre-film company, and why their rise creates opportunities for the next generation of Canadian producers.

In this episode:

•⁠ ⁠Why theatrical admissions matter more than box-office headlines

•⁠ ⁠How longer theatrical windows create urgency and audience demand

•⁠ ⁠Why original horror films are bringing younger viewers back

•⁠ ⁠Recognizable actors versus genuinely bankable actors

•⁠ ⁠The true cost of adding a name actor to an indie production

•⁠ ⁠How Oddfellows built toward its Warner Bros. partnership

•⁠ ⁠Why production companies need a repeatable pipeline

•⁠ ⁠The real value of genre festivals such as Fantasia

Mayumi Yoshida spent nine years turning a deeply personal idea into her first feature film, Akashi—writing, directing, producing, and starring in a story that crosses generations, countries, and languages.

In this episode, Mayumi reveals how a conversation with her grandmother evolved from a stage play into an award-winning short and, eventually, a critically acclaimed feature. She also breaks down the fight to finance an 80% Japanese-language Canadian film—and how she and a coalition of filmmakers helped push Telefilm Canada to remove a policy that prevented many multilingual stories from qualifying for funding.

We also discuss:

* Directing herself while leading an international cast

* Shooting in Vancouver and Japan on an extremely compressed schedule

* How losing six production days shaped the film’s visual language

* Rehearsing film scenes like theatre to survive two- and three-take days

* Cutting a completed two-hour version down to 100 minutes

* Using black and white, colour, production design, and sound to explore memory

* Why filmmakers should choose stories they can remain committed to for a lifetime

* The importance of knowing when you are—and are not—the right person to tell a story

Akashi premiered at the Vancouver International Film Festival, where it won the Audience Choice Award, and went on to receive major recognition at the Whistler Film Festival, Reel Asian, and the Leo Awards.

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Most filmmakers build pitch decks around the movie they want to make. But an investor is looking at your project through a completely different lens:

How do I get my money back—and what protects my downside?

In Episode 57 of Off The Lot, Ken Kabatoff and Anthony Furey break down what an effective indie film investor deck actually needs to accomplish.

We discuss:

• The difference between a creative pitch deck and an investor deck

• What private film investors actually need to understand

• How to explain your budget, finance plan, tax credits, and recoupment waterfall

• Why cinematography and concept art should not dominate the presentation

• How cast, comparable films, timing, and market positioning help reduce perceived risk

• Whether filmmakers need their own marketing plan

• Why your deck should inspire a conversation—not replace one

• The legal risks of publicly soliciting film investment

• How to make financial information clear without making the deck feel dry

A good investor deck does more than make your film look exciting. It demonstrates that you understand how the project will be financed, completed, sold, and positioned to return capital.

If you are trying to privately finance an independent feature, this episode provides a practical framework for building the document that may open the door.

Subscribe for candid conversations about financing, producing, directing, selling, and building independent films outside the studio system.

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Corey Payette did not wait for a studio to give him permission.

He built his stories on stage, proved them in front of live audiences, and then turned them into award-nominated films — including Star Walker, which earned 10 Leo Award nominations.

In this episode of Off The Lot, Corey breaks down how he went from theatre, music, and original Indigenous storytelling into feature filmmaking, how Star Walker evolved from a stage musical and TV series development process into a feature film, and what it actually takes to make a drag musical outside the traditional studio system.

We talk about:

How Corey adapted Star Walker from stage to screen

Why the film was made without traditional Telefilm or studio financing

The challenge of shooting a feature musical in drag on a tight schedule

How community, chosen family, and queer joy shaped the film

Why one story can become a stage show, feature film, album, tour, and published script

What Corey learned moving from theatre into filmmaking

This is a conversation about building durable creative work, making films outside the system, and finding a way forward when the industry says no.

Subscribe to Off The Lot for conversations with filmmakers building careers on their own terms.

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Anthony Epp sits down with Ken Kabatoff for a candid conversation about the recent changes to Telefilm Canada's development funding, the challenges facing emerging Canadian filmmakers, and the growing need to balance creative ambition with financial sustainability.

They reflect on networking, content creation, building an audience, and why long-term careers are built through persistence rather than overnight success.

Listen now for an honest discussion about filmmaking, funding, creative resilience, and what it really takes to keep making movies.

Vulture: The Unglamorous Financial Realities of 5 Indie Filmmakers

https://web.archive.org/web/20260623153204/https://www.vulture.com/article/indie-filmmakers-money.html

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Anthony Epp and Ken Kabatoff discuss two of the biggest stories in independent filmmaking right now: the debate over crew compensation on breakout indie hits and the growing influence of YouTube creators in the film industry.

Using the success of Obsession as a starting point, they explore backend points, producer risk, union protections, and what filmmakers and crew members can realistically expect from low-budget productions. They also examine how creators like Curry Barker, Kane Parsons, Markiplier, and Chris Stuckmann are using online platforms to develop their craft and build careers outside the traditional studio system.

Along the way, Anthony and Ken discuss film financing, distribution, audience building, and why the recent success of independent horror films may be opening new doors for emerging filmmakers.

Listen now for a conversation about independent film, creative opportunity, and the changing path to a career in filmmaking.

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Anthony Epp sits down with Julie Bruns and Steven Kammerer, filmmakers and actors behind Beneath Crimson Sails for a wide-ranging conversation about fantasy storytelling, independent filmmaking, and the passion projects that keep artists creating. Drawing inspiration from worlds like The Lord of the Rings, The Witcher, and classic adventure cinema, the guests discuss building immersive universes, crafting memorable characters, and bringing ambitious genre stories to life on independent budgets.

The episode explores the challenges of writing and developing long-form creative projects, the importance of world-building, and how filmmakers balance inspiration from beloved franchises while creating something uniquely their own. Along the way, the conversation branches into gaming, practical storytelling lessons, favorite films, dream acting roles, and the enduring appeal of fantasy adventures.

Anthony and his guests also share advice for aspiring filmmakers, emphasizing the importance of reading widely, experiencing the world firsthand, and choosing projects you genuinely love—because filmmaking is a long journey that demands persistence, curiosity, and commitment.

Listen now for an entertaining discussion about fantasy, filmmaking, creativity, and what it takes to build stories that audiences can truly get lost in.

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Anthony Epp sits down with filmmaker, visual artist, and Vancouver Film School instructor Chad Costen to discuss the long journey behind his new fantasy feature film, Mister Sandman. Chad reflects on discovering filmmaking through Star Wars, making homemade monster movies as a teenager, and building a career that spans directing, visual effects, creature design, and teaching.

The conversation explores the making of Chad’s first feature, The Coming, the lessons learned from early filmmaking struggles, and the years-long process of bringing Mister Sandman to life. Chad shares how a proof-of-concept trailer helped launch the project, why he created a series of interconnected short films to support the feature, and how the pandemic forced major changes to casting and production plans.

Along the way, Anthony and Chad discuss creative collaboration, independent filmmaking, practical effects, and the importance of finding the right team. They also dive into the influence of Star Wars, the storytelling philosophy of Robert Zemeckis, and Chad’s upcoming theatrical tour for Mister Sandman across Western Canada.

Listen now for an honest conversation about resilience, creativity, and what it takes to turn a lifelong passion for filmmaking into a feature film.

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Anthony Epp sits down with producer Matt Cervi for an in-depth conversation about the realities of independent filmmaking in Canada, from financing challenges to the thrill of bringing ambitious genre stories to life. Matt reflects on studying at USC School of Cinematic Arts, working with companies behind The Walking Dead and The Terminator, and later building Mad Samurai Productions around his passion for smart genre filmmaking.

The episode explores the difference between producing and executive producing, the risks of independent film financing, and why relationships are often the most important currency in the film industry. Matt also shares stories from producing films like The Colony and executive producing Remnant, while discussing why privately financed projects can move much faster than traditional Canadian funding models.

Along the way, Anthony and Matt talk about the untapped potential for Canadian genre cinema, the unpredictability of movie success, and the importance of collaboration, resilience, and creative passion in surviving the chaos of independent filmmaking.

Listen now for an honest, behind-the-scenes look at what it really takes to get independent films made — and why filmmakers keep coming back despite the risks.

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Anthony flies solo this week while Ken is deep in post-production on Remnant, leading to a thoughtful conversation about what really makes film sets succeed: chemistry, alignment, and trust. Inspired by the rebuilding of the Vancouver Canucks and comments from Ryan Johnson, Anthony compares hockey teams to indie film crews in a surprisingly relatable way.

Drawing from his recent experience assistant directing Sundowning, he explores why many independent productions struggle — from people wearing too many hats to departments pulling in different creative directions. The episode covers leadership, prep, communication, crew dynamics, and how producers and directors can build teams that feel collaborative instead of chaotic.

It’s an honest, practical episode about making better movies by building better teams — perfect for filmmakers, film students, and anyone curious about the creative process behind independent filmmaking.

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@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp sits down with casting director and producer Monika Dalman for a deep dive into the rapidly growing world of vertical micro dramas — the fast-paced, phone-first storytelling format becoming one of the biggest production booms in North America. From billion-dollar industry growth to nonstop productions shooting across Vancouver, Monika explains why the entertainment industry is beginning to take the format seriously.

The conversation explores how changing consumer behavior is reshaping film and television, why traditional studios are adapting to vertical storytelling, and what makes these serialized dramas so effective at capturing audiences. Anthony and Monika also discuss casting, financing, fair pay, union protections, and the realities of building sustainable productions in a fast-moving new space.

Whether you’re a filmmaker, actor, producer, or simply curious about where entertainment is heading next, this episode offers an inside look at one of the industry’s fastest-growing formats.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

This week on Off The Lot, Ken Kabatoff sits down with directors Eric Foss and Brandon Pickering to discuss their new documentary Sell Your House — a behind-the-scenes look at the making of indie crime thriller The Last Stop In Yuma County that became something far bigger.

The film follows producer James Claeys, who sold his own house to finance the movie after years of failed studio development, celebrity attachments, and dead-end distribution conversations. Eric and Brandon break down how a planned 20-minute featurette evolved into a feature documentary about friendship, risk, self-distribution, and the harsh realities of modern indie filmmaking.

The conversation dives deep into film financing, predatory distribution deals, audience building through social media, YouTube success stories, and why more filmmakers are starting to question the traditional Hollywood system altogether.

If you’re trying to figure out how independent films actually get made — and what happens after the movie is finished — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony reflects on the intensity of his current horror shoot — managing complex elements like fire, special effects, and working with animals, all within tight production constraints. He highlights how the genre demands precision in both timing and execution, and why capturing multiple variations on set is essential to support the edit.

Ken shares insights from a recent test screening of Remnant, describing the experience as challenging but invaluable. He emphasizes the importance of honest audience feedback — particularly from non-filmmakers — in revealing what is truly working and what is not.

The conversation explores key takeaways from the screening, including clarity of storytelling, pacing, and the strength of the audience’s emotional connection to the protagonist. Ken discusses how this feedback translated into practical adjustments, from ADR to a targeted pickup shoot.

The episode concludes with a reflection on additional photography and the realities of post-production, where thoughtful refinements and small changes can have a meaningful impact on the final film.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp reflects on how working as a first assistant director has become one of the most valuable forms of training for his growth as a filmmaker.

Drawing from his current experience on Sundowning, he explores the relationship between directing and production — not just creating a vision, but understanding how to execute it within real limits of time and budget. He highlights how the AD role offers a unique vantage point on set, where creative and logistical decisions constantly intersect.

The conversation centers on the idea that strong directors must think like both artists and builders. From blocking to coverage and time management, Anthony shares how production knowledge can become creative leverage rather than a constraint.

He also touches on the risk of becoming too practical — how understanding production too well can shrink ambition — and why directors need to protect the ideas that truly matter.

If you want a grounded look at how directing is shaped by real-world constraints — and why learning production can make you a better filmmaker — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp checks in from the first week of production on his new horror feature, sharing with Ken Kabatoff what it’s like to jump straight into night shoots, complex logistics, and a packed schedule as an assistant director. From managing a challenging mix of elements — including animals, kids, stunts, and special effects — to finding unique locations in British Columbia, he offers a grounded look at the realities of being on set.

The conversation also shifts into post-production, as a large test screening approaches for Remnant. Ken breaks down the importance of audience feedback, maintaining clarity without losing mystery, and how small adjustments — from ADR to structure — can reshape a film.

The episode wraps with a deeper discussion on film financing, exploring investor relationships, what makes a project commercially viable, and why building the right partnerships is just as critical as the film itself.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken and Anthony break down the realities of moving from production into post — and what it takes to shape a film after the cameras stop rolling.

Ken reflects on the final stretch of production and the early lessons that came out of the shoot, from coverage limitations to the impact of tight schedules and indie budgets. The conversation dives into the editing process — from rough cut to director’s cut — and the collaborative workflow with editors, reshaping scenes, refining pacing, and discovering the film in the edit rather than on the page.

They also discuss the emotional shift after wrap, the role of test screenings, and the balance between creative vision and practical constraints in post. The episode closes with a candid look at the evolving role of AI in filmmaking, and why human creativity still drives the process.

If you want an inside look at how a film evolves in post and what it really takes to push an indie project toward picture lock — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp takes a solo deep dive into the role of the assistant director — unpacking how films actually come together in the final stages of pre-production.

Using his 20 plus years of experience, he breaks down the critical alignment between script, budget, and schedule, and how a screenplay transforms from a creative document into a logistical blueprint for every department. The conversation explores the AD–director relationship, the importance of early problem-solving, and how decisions around locations, setups, and time ultimately shape the film.

Anthony also shares a ground-level perspective on production — from managing hundreds of setups to balancing creative ambition with practical constraints, and why communication, clarity, and preparation are what keep a set from falling apart.

If you want a real-world understanding of how films are executed, and why the assistant director might be the most important hire on your project — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp breaks down what it actually means to start a career in the film industry — especially when you’re starting from zero or coming in later in life.

They explore the mindset shift from waiting for permission to taking control, using a stoic framework to focus on what’s within your control: the quality of your work, consistency, collaboration, and preparation. The conversation challenges the idea of “breaking in” through luck, festivals, or gatekeepers, and instead reframes filmmaking as a process built through volume, repetition, and self-generated opportunities.

From volunteering on set to making ultra-low-budget projects, they unpack why constraints are often the fastest path forward — and how rejection, lack of resources, and limited access can actually become advantages when approached correctly.

If you’re trying to get your foot in the door, build momentum, and create a sustainable path into the industry — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp sit down with veteran producer Erin Haskett to unpack the evolving landscape of television — from linear broadcast to the streaming-first era.

They explore how audience behavior has reshaped storytelling, why pilots matter more than ever, and the challenge of hooking viewers in the first minutes of an episode. The conversation dives into the balance between creative vision and market realities, the role of the producer as both storyteller and strategist, and how projects actually get sold today.

Erin also reflects on her path into the industry, the importance of early career hustle, and what makes a great creative partnership — alongside a broader look at where Canadian television is heading in a global market.

For insight into modern TV development, producing, and what it takes to build stories that actually connect, check out this episode of Off The Lot

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp goes solo while Ken focuses on finishing the director’s cut of Remnant, diving into one of the most misunderstood aspects of filmmaking: how money actually flows through a film project.

Using the history behind the making of Casablanca as a starting point, Anthony explores the idea that film has always been both art and business. He breaks down why major creative decisions — from casting to release timing — have historically been driven by commercial thinking, and why independent filmmakers need to approach their projects with the same level of financial strategy.

The episode then unpacks the mechanics of film financing in Canada, from public funding stacks and federal tax credits to private equity and revenue “waterfalls.” Anthony explains how structures like the Canadian Media Fund and refundable tax credits reduce risk for investors, and why building a clear financial architecture before production is essential for creating sustainable independent films.

Real-time look at the financial side of filmmaking, how investors get paid back, and why understanding the business structure behind a film is just as important as the story itself in this week’s episode of Off the Lot.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Anthony Epp sit down with filmmaker, stunt performer, and fight choreographer Bruce Fontaine to discuss his journey from Hong Kong action cinema to directing independent features in Canada.

Bruce reflects on his career working in the golden age of Hong Kong filmmaking, performing alongside some of the industry’s biggest martial arts stars before transitioning into directing his own projects. The conversation explores the making of his latest film Ruthless Bastards, the challenges of producing independent action films, and how persistence, networking, and private investment helped bring the project to life.

They also dive into the realities of building commercially viable indie films — from casting recognizable names that help sell a movie internationally to designing action sequences that work within tight budgets. Bruce shares insights into why action remains one of the most exportable genres, the importance of prioritizing stunt performance on screen, and his mission to showcase Canadian talent while still making films that travel globally.

A candid conversation about independent filmmaking, global action cinema, and what it takes to build commercial genre films outside the traditional studio system in this week's episode of Off the Lot.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp check in at the end of production on Remnant — officially wrapping an ambitious 18-day horror shoot.

They unpack filming a massive eight-page exorcism sequence with 41 setups in a single day, executing complex stunts and practical fire gags, navigating the pressure of company moves, daylight-dependent exteriors, and zero overtime cushion.

Real-time look at wrapping a first feature, balancing creative instinct with business reality, and trusting the prep when the clock is ticking in this week's episode of Off The Lot.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp check in at the end of week two of production on Remnant — officially crossing the halfway mark of the shoot.

They unpack working with veteran actor Kim Coates (Sons of Anarchy, Waterworld), what it’s like directing a performer with 40+ years of experience, and how preparation — without rehearsal days — becomes critical on an indie schedule. Ken reflects on adapting his directing style to different actors, capturing multiple tonal variations for the edit, and why casting truly is 90% of directing.

The conversation also dives into the logistics of shooting in a single house location, managing large lighting setups, building a distinct “nightmare world” look through lenses, LUTs, haze, and camera movement, and surviving one of the most difficult seven-page finale days of the shoot — complete with practical fire gags and major technical pivots.

Real-time look at navigating performance, pressure, production constraints, and creative problem-solving halfway through a feature in this week's episode of Off the Lot

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp recap the first week of production on Remnant, as Ken officially steps into the director’s chair on his debut feature.

They break down the realities of week one — company moves, complex lighting setups, blue-hour stunts, horror sequences, and the constant pressure of making an 18-day schedule work. The conversation explores working with actors versus technicians, discovering performance in the moment, and how “happy accidents” on set can redefine a scene.

Ken also reflects on how the film begins to reveal its own language during production — adjusting shot lists, simplifying coverage, maximizing a two-camera setup, and learning how the house location dictates the visual strategy.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In Episode 5 of Season 2 of Off The Lot, Anthony Epp goes solo while Ken Kabatoff wraps the first week of production on Remnant.

Anthony uses the episode to pull back the curtain on a part of filmmaking many creators avoid: raising money. He shares a candid breakdown of his current sprint to finance The Quiet Canadians, reframing fundraising as direct action instead of endless preparation, refinement, or “pseudo-activity.”

The episode focuses on mindset shifts, investor outreach, and why real progress comes from conversations, not pitch decks. Anthony discusses private investment, confidence through repetition, and how filmmakers can reposition themselves from asking for permission to offering meaningful partnerships.

If you’re an indie filmmaker struggling with financing, avoidance, or the leap from planning to action — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp reflect on the final days of prep as Remnant officially heads into production, opening with a discussion on the passing of Catherine O’Hara and her lasting impact on film and television.

They discuss the intensity of week three of pre-production, from major art department transformations and schedule reshuffling to creative decisions around camera strategy, lenses, aspect ratio, and visual texture. The conversation also touches on the current moment in Canadian film and television, legacy creators, and why risk-taking still matters.

The episode closes with a look at how preparation, collaboration, and creative commitment shape the first days of a shoot — and what it means to step onto set ready to make decisive choices.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com/about

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In this episode of Off The Lot, Ken Kabatoff and Anthony Epp share updates from the front lines of indie filmmaking, including early details on the psychological thriller Blue Box.

They discuss investor strategy, why genre matters, and the importance of building sustainable, repeatable paths to get films made outside traditional systems.

The episode also checks in on pre-production for Ken’s horror feature Remnant, covering department coordination, planning challenges, and the constant balance between creative ambition and logistics.

If you want an honest look at how films actually get made before cameras roll — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

Ken Kabatoff and Anthony Epp dive into the early realities of getting a film off the ground — from reclaiming responsibility over financing to stepping into the chaos of official pre-production.

They discuss stepping back from oversubscribed government funding programs to focus on private investors, brand partners, and audience-building, and why waiting for permission can stall momentum.

The episode then breaks down the first week of pre-production on Ken’s horror feature Remnant, covering script breakdowns, department meetings, scheduling pressure, and the process of turning a script into a work order.

If you want an honest look at real-life filmmaking and the transition from planning to execution — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

www.remnantmovie.com

Follow Ken Kabatoff's newsletter The Film Founder here:

https://kenkabatoff.substack.com

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

www.anthonyepp.com

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

In the Season 2 premiere of Off The Lot, hosts Ken Kabatoff and Anthony Epp get brutally honest about where filmmaking is right now — and what it actually takes to survive (and thrive) as an indie creator.

Ken announces that his debut horror feature Remnant is officially greenlit and takes listeners deep into the real nuts and bolts of indie filmmaking: financing setbacks, investor psychology, tax credit loans, crew logistics, and the pressure of personally guaranteeing a first feature.

This episode sets the stage for a new weekly format where listeners will follow the making of Remnant week by week, from pre-production through to delivery.

If you’re a filmmaker trying to figure out how to move forward in a broken system — this episode is for you.

Follow Ken's Indie Horror Feature Remnant here:

Remnant

Follow Ken Kabatoff's newsletter The Film Founder here:

The Film Founder

Follow Anthony Epp's newsletter The Filmmaker's Notebook here:

The Filmmaker's Notebook

Follow Ken & Anthony on Instagram here:

@ken_kabatoff

@epptri

Eight months. Tons of guests. Countless lessons from the trenches of indie filmmaking. In our Season 1 finale, Ken and Anthony pull back the curtain on their own projects, diving into the wild, unpredictable ride of producing indie films.

We talk about:

1. The razor’s edge of indie film financing
2. The difference (and similarities) between studio & indie filmmaking
3. Manifestation, meditation & the mental game of making movies
4. Finding and working with the right people
5. Why now is the time to make your movie — no excuses

Plus — a huge thank you to Peliplat and Craftsman Films for fueling this first season. We’ll be back this fall with an even bigger, better Season 2. Until then… keep creating, keep hustling, and keep telling your stories off the lot.

👉 Want to listen to the show? Check out www.offthelotpodcast.com/listen

👉 Want to watch the show? Check out our YouTube channel: https://www.youtube.com/@offthelotpodcast

💰 Sponsored by Peliplat — Enter monthly writing challenges and win up to $2400 USD in cash prizes. Join at www.peliplat.com/offthelot

📚 Sponsored by Craftsman Films — Each week, successful indie producer Daren Smith shares his vast knowledge of indie filmmaking in a highly anticipated newsletter. If you sign up at the link below you'll get access to his must-read book Blockbuster absolutely free! www.craftsmanfilms.co/offthelot

🖥️ Follow us on Instagram: @offthelotpod, @ken_kabatoff, @epptri

☕️ Help support the show! Buy us a cup of coffee for those long editing nights by leaving a tip here! www.offthelotpodcast.com/support

🎯 Don’t forget to like, comment, and subscribe so you don’t miss the Season 2 premiere!

Ready to peek behind the curtain of indie filmmaking? In this electrifying episode, award-winning director Karen Lam (The Curse of Willow Song, Bring It On: Cheer or Die) sits down to unpack her unique journey from entertainment lawyer to horror auteur.

Karen dives deep into her latest projects—Armageddon Road, a supernatural thriller blending innovative volume wall tech with old-school miniature effects, and the award-winning short Mrs. Chang’s Perfect Teeth. Along the way, she offers practical advice for indie filmmakers navigating a changing industry, discusses the indie vs. studio filmmaking balance, and shares essential strategies for filmmakers looking to build sustainable careers without relying on traditional gatekeepers.

📌 In this episode, you’ll discover:

1. How Karen financed her latest feature using creative, indie-friendly strategies.
2. Why mixing cutting-edge tech with classic practical effects can elevate your storytelling.
3. The power of creating your own opportunities instead of waiting for "Hollywood to pick you."
4. Insights into how Canadian filmmakers can leverage industry shifts to their advantage.

Hit Subscribe to Off The Lot for more candid conversations and practical filmmaking insights!

👉 Want to listen to the show? Check out www.offthelotpodcast.com/listen

👉 Want to watch the show? Check out our YouTube channel: https://www.youtube.com/@offthelotpodcast

💰 Sponsored by Peliplat — Enter monthly writing challenges and win up to $2400 USD in cash prizes. Join at www.peliplat.com/offthelot

📚 Sponsored by Craftsman Films — Each week, successful indie producer Daren Smith shares his vast knowledge of indie filmmaking in a highly anticipated newsletter. If you sign up at the link below you'll get access to his must-read book Blockbuster absolutely free! www.craftsmanfilms.co/offthelot

🖥️ Follow us on Instagram: @offthelotpod, @ken_kabatoff, @epptri

☕️ Help support the show! Buy us a cup of coffee for those long editing nights by leaving a tip here! www.offthelotpodcast.com/support

🎙️ Don’t forget to like, comment, and subscribe so you don't miss a single episode!

#KarenLam #IndieFilm #HorrorMovies #FilmmakingTips #WomenInFilm #FilmProduction #OffTheLotPodcast #ArmageddonRoad #MrsChangsPerfectTeeth #FilmmakingAdvice #VancouverFilm #FilmFinance #DirectorLife

What if Letterboxd and a writer's room had a baby—and that baby was raised in a video store by cinephiles? That's Peliplat. And in this bonus episode, Off The Lot fave Bob Woolsey returns to break down exactly why Peliplat might be the next big thing for indie filmmakers and film lovers alike.

We dive deep into how Peliplat is building a real community for creatives to:

1. Develop IP in a transparent, collaborative way (yes, even in the age of AI)
2. Share cultural perspectives on film that expand how we watch and talk about movies
3. Reclaim the joy of movie discussion outside the noise of social media
4. Find your tribe of writers, critics, and cinephiles who care as much as you do

🎥 Bob’s been in the trenches for over 15 years — as a writer, director, and educator. If you're serious about building a career in film, you can’t miss this one.

👉 Want to watch the show instead? Check out our YouTube channel here: Off The Lot YouTube

💰 Sponsored by Peliplat — Enter monthly writing challenges and win up to $2400 USD in cash prizes. Join at Peliplat_OffTheLot

📚 Sponsored by Craftsman Films — Each week, successful indie producer Daren Smith shares his vast knowledge of indie filmmaking in a highly anticipated newsletter. If you sign up here you'll get access to his must-read book Blockbuster absolutely free!

🖥️ Follow us on Instagram: @offthelotpod, @ken_kabatoff, @epptri

☕️ Help support the show! Buy us a cup of coffee for those long editing nights by leaving a tip here!

🎙️ Don’t forget to like, comment, and subscribe so you don't miss a single episode!

Thinking about film school? Or wondering if you should skip it and just make a movie?

🎓 In this episode, filmmaker and former Vancouver Film School department head Bob Woolsey breaks down:

1. What film school actually teaches you (and what it doesn’t)
2. Why networking and teamwork beat theory every time
3. Whether a $30,000 tuition is worth the ROI
4. How to break into the industry without formal education
5. Why your attitude might matter more than your talent

🎥 Bob’s been in the trenches for over 15 years — as a writer, director, and educator. If you're serious about building a career in film, you can’t miss this one.

👉 Want to watch the show instead? Check out our YouTube channel here: Off The Lot YouTube

💰 Sponsored by Peliplat — Enter monthly writing challenges and win up to $2400 USD in cash prizes. Join at Peliplat_OffTheLot

📚 Sponsored by Craftsman Films — Each week, successful indie producer Daren Smith shares his vast knowledge of indie filmmaking in a highly anticipated newsletter. If you sign up here you'll get access to his must-read book Blockbuster absolutely free!

🖥️ Follow us on Instagram: @offthelotpod, @ken_kabatoff, @epptri

☕️ Help support the show! Buy us a cup of coffee for those long editing nights by leaving a tip here!

🎙️ Don’t forget to like, comment, and subscribe so you don't miss a single episode!

In this episode, we're joined by indie filmmaker MJ Alhabeeb Jr., whose debut feature Plight is racking up awards and heading to theaters. MJ takes us through his journey from shooting public access TV at 16, to premiering Plight in the very town where it was shot, to landing distribution with Indie Rights—all on a shoestring budget.

We dig deep into:

1. How he made Plight for $60K
2. Why failing forward matters
3. What filmmakers often get wrong about distribution
4. Building a film career without the studio system
5. His honest advice for every up-and-coming director

🎥 This is a must-listen for anyone who’s felt stuck or sidelined in their filmmaking journey. MJ proves you don’t need permission—you just need to get going.

📺 Plight is now streaming on Amazon Prime.

👉 Want to watch the show instead? Check out our YouTube channel here: Off The Lot YouTube

💰 Sponsored by Peliplat — Enter monthly writing challenges and win up to $2400 USD in cash prizes. Join at Peliplat_OffTheLot

📚 Sponsored by Craftsman Films — Each week, successful indie producer Daren Smith shares his vast knowledge of indie filmmaking in a highly anticipated newsletter. If you sign up here you'll get access to his must-read book Blockbuster absolutely free!

🖥️ Follow us on Instagram: @offthelotpod, @ken_kabatoff, @epptri

☕️ Help support the show! Buy us a cup of coffee for those long editing nights by leaving a tip here!

🎙️ Don’t forget to like, comment, and subscribe so you don't miss a single episode!

Off The Lot is where serious indie filmmakers level up. Hosted by Ken Kabatoff and Anthony Epp, this podcast goes beyond the fluff to deliver real, hard-earned lessons from the frontlines of independent filmmaking. Each episode is a masterclass—featuring directors, producers, and creatives who are in the trenches, making movies happen without a safety net. If you want actionable insights, unfiltered conversations, and the blueprint to build your own career outside the studio system—this is the show.

Spread the word and help indie filmmakers around the world level up today!

This week, we’re answering your burning questions—and holding nothing back.

Whether you're stuck in development hell, figuring out how to light your film without pro gear, or wondering how to work with (or walk away from) an investor with strings attached—this episode is for you.

We cover:

🔥 How to make your indie film look cinematic on a shoestring

💰 The financial model that actually gets investors paid back

🎭 Directing actors (even when you have zero rehearsal time)

🎥 The red flags that should make you walk away from a “dream” investor

📽 Why Hollywood won’t “pick” you—and why that’s a good thing

🧠 The spiral theory of filmmaking that will change how you prep your movie

Plus: Ken drops the real update on Remnant—how close they are to greenlight, and what it means to go all in.

🎥 Whether you're an indie filmmaker or a fan of genre movies, this episode is packed with actionable insights, brutal honesty, and a lot of laughs.

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