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I had the pleasure recently of interviewing co-authors of ‘Cheapskate Movie Makers: How We Made 10 Horror Movies in 9 Years With Nearly Zero Budget’, business partners of The Big Biting Pig Production, and indie filmmaking duo, JP Woodside and Steve Hodgins.    The Cheapskate filmmaking duo is specialized horror and psychological thrillers independent filmmakers with long-standing production, acting, editing, and writing experiences combined. They have collaborated on numerous projects over the years. Some of their shared work include Creepy Doll - 2011 (co-produced and directed by Woodside), Spirit Stalkers - 2012 (directed and written by Hodgins, starring Woodside), Frances Stein - 2015 (directed and written by PJ Woodside and produced by Hodgins), etc. Frances Stein is a brilliant scientist gone mad for all the right reasons - she's lost her marriage, her job, and her reputation. Now she has plans for her ex-husband and his new wife that will mess with their minds. Literally. The Creepy doll is about a man who begins to question his wife's sanity after her behavior changes for the worse, which he believes has something to do with her spooky and sinister collection of porcelain dolls. Woodside is the founder of PJ’s Production which focuses on book trailers, music videos, and promos. They shared the Tabloid Witch Awards for best editing (Frances Stein) 2016, and the honorable mention award in 2011 for The Creepy Doll, as well as the best picture for The Creepy Doll at the 2011 MayDay Film Festival. Before blending their forces, Hodgins worked on some of the best animations as editor or producer -  he holds 63 production credits on shows like Beetlejuice, Adventures of Tintin, Wild C.A.T.S: Covert Action Teams, Rupert, The Magic School Bus, etc The Spirit Stalkers reality show, once a big hit, faces cancellation without a rating boost, which leads the investigative team to Gloria Talman, whose house is rampant with unexplained ghostly activity. It was an absolute honor to chat with them and learn more about their cost-effective strategies in making ten movies in nne years on no budget, their unique distribution model. Enjoy my epic conversation with PJ Woodside and Steve Hodgins.

We have made it to 450 episodes of the Indie Film Hustle Podcast. The IFH Tribe has given me 450 opportunities to serve them and for that I am humbled. Thank you all for allowing me to do what I love to do so much. With that said I wanted to bring you a massive guest for this remarkable milestone. Today’s guest is a writer, director, producer, actor and indie filmmaking legend Edward Burns. Many of you might have heard of the Sundance Film Festival winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His cinderella story of making the film, getting into Sundance and launching his career is the stuff of legend. The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade. Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She’s The One. The films about the love lives of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey’s ex-girlfriend, while Mickey impulsively marries a stranger. Even after his mainstream success as an actor, writer and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world. In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects. In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010. In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by. Actors would have to work for virtually nothing. The film should take no longer than 12 days to film and get into the can Don’t shoot with any more than a three-man crew Actor’s use their own clothes Actors do their own hair and make-up Ask and beg for any locations Use the resources you have at your disposal I used similar rules when I shot my feature films This is Meg, which I shot that in 8 days and On the Corner of Ego and Desire which I shot in 4 days. To be honest Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back and many more. Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me go out and buy the DVD versions of all his films. His commentaries are worth the price of admission. When I first spoke to Ed he told that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit-down and speak to a filmmaker that had such an impact my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I’m honored to bring this epic conversation to the tribe. Enjoy my conversation with Edward Burns.

We have been on a major roll lately on the podcast and this episode keeps that going in a big way. Our guest on the show today is writer, producer, and director Edward Zwick. Edward made his big shift from his childhood passion for theater to filmmaking after working as a PA for Woody Allen in France on the set of Love and Death. He then moved to California in the summer of 1976 and has since forged a respected name for himself in Hollywood. You can read Edward Wick's Screenplay collection here.  Edward Zwick is a multiple Academy Award, Golden Globes, and BAFTA award-winning director, writer, and producer. Faced with the fear of going to law school during his first five years in the industry if filmmaking didn't work, Zwick cards turned and launched him into projects that are now some of the most critically and commercially acclaimed in the business. His work spectrums the comedy-drama and epic historical genres. Edward has had a remarkable career so far and still has much more to give. Speaking to Edward was like sitting in my persona filmmaking masterclass. We discuss how he made the jump from a low-budget comedy to epic historical dramas, his creative process, navigating Hollywood, directing some of the biggest movie stars in the world, and much more. Prepare to take notes on this one tribe. Enjoy my conversation with Edward Zwick

Our guest today is no stranger to the show. Ben Yennie was my very first guest on the podcast and he returned this week to discuss the current state affairs of film distribution and his newest venture, Mutiny Pictures which is a full-service film distribution firm. Ben Yennie is an author, film distributor, and producer rep with a high offer rate on films he’s represented at the American Film Market. After forging a successful career as a producer rep for some of Hollywood big talent names in the biz, he opted to go the distribution route.  He is also the author of The Guerrilla Rep: American Film Market Distribution Success on No Budget, The First ever book on Film Markets and used as a text at about 10 film schools. Mutiny Pictures was launched in June 2020 to build transparent, modern development, sales, and distribution relationships with big pay-TV providers, and physical media retailers - prioritizing diverse filmmakers and stories to help move the industry into the world post-COVID-19.  There are rapid changes affecting film distribution via theaters for independent filmmakers amidst COVID. Adjustment to new distribution models is a top issue these days. We discussed the proliferation of virtual cinemas (PVOD) and building infrastructures towards that focus because theaters can not survive these COVID times and they may not meet head-to-head with VODs post-covid. So how can independent filmmakers adopt and better position themselves to the evolution of film distribution? Enjoy my conversation with Ben Yennie.

Today we go inside the mind of screenwriter Randall Jahnson (The Doors, Mask of Zorro). Part #2 Randall Jahnson is an American writer, director, and producer. His works include Dudes, The Doors, The Mask of Zorro, Sunset Strip, and episodes of the HBO TV series Tales from the Crypt. He also wrote Gun, a Western video game which was voted Best Story at the IGN Video Game Awards.

We all need a kick in the butt sometimes on our filmmaking or screenwriting journey. This show will do just that. Never stop chasing that filmmaking dream. Keep on hustling. Proud Member of the IFH Podcast Network (ifhpodcastnetwork.com)

Raising money for independent films is the number one pain point for almost every filmmaker in the world. A buzz world so many producers hear now a days in "film tax credits."  These tax credits are magical and it's like money falling from the sky but how do they work? How can indie filmmakers get their hands on these greenbacks? Hopefully this episode will make that struggle a bit easier. On the show today we have tax credit guru  Zachary Tarica, CEO of The Forest Road Company and Chairman of the Board & Chief Investment Officer at Forest Road Acquisition Corp. The Forest Road Company (FRC) is a vertically integrated, specialty finance platform catering to the entertainment industry. Through tax credit lending, servicing, and brokerage, the team of finance professionals, tax credit experts, and lawyers work to empower responsible creators with the resources they need to bring their best work to life. The company went public on the New York Stock Exchange on Nov 2020. In its three years of business, Forest Road has remarkably funded over 150 projects in film and TV through tax credits and raised a staggering $300 million capital - working with state and federal officials and filmmakers to build independent filmmakers competition with big studio films. Zachary had previously built a career in the private equity business. So when he was introduced to the filmtrepreneur side of the industry, he saw an opportunity to capitalize on a cost-effective, double-win, where filmmakers would avoid the bad distribution deals and States would benefit from the jobs created. I consider this episode as one of the ultimate film business talks. With the challenges COVID has caused to every industry, the film industry is dealing with hurdles of the high replacement costs to make movies. Being able to properly get allotted film tax credits is a massive advantage. Zachary shares prime investor insider knowledge and resources in this conversation that will blow your mind. And of course, you have to hear his hilarious story of how he discovered the Indie Film Hustle Podcast and my book Rise of the Filmtrepreneur. Enjoy my conversation with Zachary Tarica.

Showrunning is a mysterious art form to many so I wanted to bringing he someone who can shine a light on what it takes to be one. Today on the show we have powerhouse show runner, writer, director, producer, and all-around good guy Steven Deknight. Best known for his work across the action, drama, and sci-fi genres on TV shows like Smallville, Spartacus, Daredevil, Buffy the Vampire Slayer, Angel, and Jupiter's Legacy. Realizing his strengths early on in his career, Steven is a jack-of-all-trades who studied acting at the onset of film school transitioned through to writing, playwright, and screenwriting. Buffy the Vampire Slayer was his big break - starting off as writer and story editor on the show, Deknight went on to produce 42 episodes of the Spin-off show, Angel. The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption. Steven went on to direct and co-executive produce 66 episodes of the 2001 comics show, Smallville which set a viewers rating record of 4.34 million viewers per episode and had a great 10 seasons run. The series goes along with Clark Kent through his struggles to find his place in the world as he learns to harness his alien powers for good and deals with the typical troubles of teenage life in Smallville, Kansas. In 2009, He briefly wrote, directed, and consulted on the short-lived Dollhouse series. Almost immediately after, Deknight got an offered to executive produce and write the hit sensation and everyone's guilty-pleasure, Spartacus. In this interview, he shares that as the creator of a hit show, it was a major career booster for him. A fictional historical drama series inspired by, Spartacus, the show focused on Spartacus's obscure early life leading up to the beginning of historical records. We do a deep dive on how Steve brought the Marvel universe's darker and grittier character Daredevil to Netflix that help launch The Defenders superhero on the streaming giant. Blinded as a young boy, Matt Murdock fights injustice by day as a Lawyer and as a street-level superhero by night, in Hell's Kitchen, New York City. Deknight finally ventured off into film in 2018 for the big budget. His feature-film directorial and writing debut Pacific Rim: Uprising. We go into the weeds on his experience bring a studio tentpole to the big screen while under extreme pressure and restraints. Steve was a blast to chat. Enjoy this conversation with Steve Deknight.

We have been on a major role lately on the podcast and this episode keep that going in a big way. Our guest on the show today is writer, producer, and director Edward Zwick. Edward made his big shift from his childhood passion of theater to filmmaking after working as a PA for Woody Allen in France on the set of Love and Death. He then moved to California in the summer of 1976 and has since forged a respected name for himself in Hollywood. Edward Zwick is a multiple Academy Award, Golden Globes, and BAFTA award-winning director, writer, and producer.  Faced with the fear of going to law school during his first five years in the industry if filmmaking didn't work, Zwick cards turned and launched him into projects that are now some of the most critically and commercially acclaimed in the business. His work spectrums the comedy-drama and epic historical genres. Edward has had a remarkable career so far and still has much more to give. Speaking to Edward was like sitting in my persona filmmaking masterclass. We discuss ho he made the jump from a low budget comedy to epic historical dramas, his creative process, navigating Hollywood, directing some of the biggest movie stars in the world and much more. Prepare to take notes on this one tribe. Enjoy my conversation with Edward Zwick.

In this age of streaming platforms, knowing your distribution route and audience's comfortable viewing habits as filmmakers is crucial. Today on the show returning champion and film industry data analyst ninja, Stephen Follows, breakdowns the build-up process and goal of his newly-launched data analysis platform, VOD Clickstream.  The first phase of Stephen's VOD Clickstream is an independent research of Netflix streaming history between 2016-2019 of two-third billion data points that reveal what folks have been watching on Netflix. The research provides insights into the streaming sector by anonymizing browsers and users' history through a plugin to analyze clickstream data from Netflix.  Being an entrepreneur himself, he explores, through this project, the future of VOD Clickstream's impact on independent filmmaking and creating a feedback loop with the audience to gauge films and television shows performances. Stephen and I discuss the interlink between the upswing of film and television content and the growth of streaming platforms and the challenges this situation poses for indie films to succeed on these platforms. Enjoy my conversation with Stephen Follows.

Today on the show we have award-winning producer, film executive, educator, and industry story analyst Christopher Lockhart. Christopher is renowned for his script editing acumen. He has read over 60,000 screenplays.  He is also an award-winning filmmaker and member of the WGA, PGA, and the Television Academy. Chris got his start at International Creative Management (ICM), where he worked as script consultant to legendary talent agent Ed Limato, who represented industry giants such as Mel Gibson, Richard Gere, Michelle Pfeiffer, Liam Neeson, and Robert Downey, Jr. He later moved to the venerable William Morris Agency, which merged with Endeavor to form WME.  At WME Chris has worked on award-winning projects for A-list clients like Denzel Washington, Russel Crowe, and Rachel McAdams among others. Chris branched off into film producing with the cult horror hit The Collector and its sequel The Collection, which opened in the top ten American box-office.   He wrote and produced the award winning documentary Most Valuable Players, which was acquired by Oprah Winfrey for her network.  Chris has set up several other projects, including A Rhinestone Alibi at Paramount, and Crooked Creek, a modern noir thriller. As an educator, Lockhart shares his talent and 30+ years of industry experience as an adjunct professor at Screenwriting program and at UCLA. His writing workshop The Inside Pitch was filmed for Los Angeles television and earned him an Emmy Award nomination. Chris and I also teamed up for a new webinar from IFH Academy called How to Become a Hollywood Script Reader from Industry Insiders HOW TO BE A HOLLYWOOD READER is a webinar focusing on the secrets of one of Hollywood’s most vital and mysterious jobs. A reader evaluates screenplays and stories, practicing quality control through “coverage” – a written report that judges creative success. The reader wields huge influence that empowers Hollywood chiefs to greenlight film, television, and new media. This webinar examines the core components of coverage, how to write it, and provides tools and pro tips to navigate the reading profession – led by two preeminent Hollywood readers. By pulling back the curtain on this creative process, the webinar also gives writers, directors, actors, and producers a rare look inside the mind of those who decide the fate of their material. Chris prioritizes emotionality and his client's character role and development ahead of the overall story solidity. He shared some tips for new writers, some lessons learned from bad scripts, what goes on behind the agency curtain and the blessing of untapping a story's best version from re-writes. Enjoy my conversation with Christopher Lockhart.

Imagine you are in film school and you make a student film. Then that student film get's seen by Steven Spielberg and he calls you into his office to offer you a deal to direct a feature film version of that short. Well, that is exactly how today's guest go his start. On the show we have the legendary writer/director Kevin Reynolds. Kevin directed the world-wide blockbuster Robin Hood: Prince of Thieves, the epic Rapa Nui, and the infamous and misunderstood Waterworld. Kevin Reynolds made his big career leap from election lawyer and political speechwriter to pursue his childhood passion for writing - enrolling into film school at the University of Southern California. In 1980, Reynolds’s debut film Proof landed him a shot right out of USC to work with Steven Spielberg. The film was later produced as Fandango in 1985, written and directed by Reynolds. Five college buddies from the University of Texas circa 1971 embark on a final road trip odyssey across the Mexican border before facing up to uncertain futures in Vietnam and otherwise. In 1991, Reynolds directed the $48 million action-adventure film of the time, Robin Hood: Prince of Thieves, that grossed $390 million worldwide. This action-filled fan favorite follows Robin and his Moorish companion’s adventure to England and his fight back against the Sheriff of Nottingham’s tyranny. He followed up Robin Hood with the epic Rapa Nui. The film the love between the representatives of two warring tribes changes the balance of power on the whole of the famous Easter Island. The film failed to find an audience in it's initial release but has since become a cult favorite. His next directorial outing is the legendary Waterworld starring Kevin Costner. Waterworld was labeled the most expensive movie ever made ($175 million), until Titanic dethroned it a few years later. The press said it was the biggest flop of all time as well but nothing could be farther from the truth. When the film was finally released it made $264 million worldwide. The film went on to become one of the most valuable IPs in the Universal Studios library. The company created a theme park out of the film that has last over 25 years in multiple parks around the world and has generated hundreds of millions of dollars for Universal. In a future where the polar ice-caps have melted and Earth is almost entirely submerged, a mutated mariner fights starvation and outlaw "smokers," and reluctantly helps a woman and a young girl try to find dry land. Reynolds’s critically acclaimed historical adventure film adaptation of The Count of Monte Cristo novel in 2002, which starred versatile actor James Caviezel, was a remarkable comeback project after a five-year hiatus. The film is about revenge after a man, falsely accused by three jealous friends, sought to avenge his wasted years of somewhat imprisonment serving a wealthy Italian cleric. Kevin and I discuss the highs and lows of directing in Hollywood, working with Steve Spielberg, his ever changing relationship with friend Kevin Coster, how he dealt with directing Waterworld and so much more. Enjoy my conversation with Kevin Reynolds.

Today on the show we have writer, director, author, actor, and all-around indie film pioneer Mark Polish. Mark and his brother Michael Polish (listen to his  interview here) are well known for their films, Twin Falls Idaho, Jackpot (the world's first digital feature film, yes they beat George Lucas by a few months), The Astronaut Farmer starring Billy Bob Thornton and one of my favorite indie films ever For Lovers Only (Available on IFHTV). His most recent film Headlock (aka Against the Clock, more on that later in the interview) is out in VOD. Also, do yourself a favor and read his amazing filmmaking book The Declaration of Independent Filmmaking which is easily one of my favorite filmmaking books of all time. Mark and I discuss his career, the challenges of maintaining your creative vision and working within and out of the Hollywood system. We also discuss how Sundance has radically changed over the years and some of his horror stories when shooting and distributing his films. Enjoy my epic conversation with Mark Polish.

We all need a kick in the butt sometimes on our filmmaking or screenwriting journey. This show will do just that. Never stop chasing that filmmaking dream. Keep on hustling. Proud Member of the IFH Podcast Network (ifhpodcastnetwork.com)

Today on the show we have attorney and film distribution expert Orly Ravid. Orly is committed to helping artistically and intellectually rigorous and important films reach their respective audiences via a financial model that is sustainable for filmmakers. Having established the theatrical, festival, digital distribution and educational services, presently at TFC, Orly works primarily on distribution, sales/licensing and contract/negotiation services with a focus on new media digital distribution. She also oversees theatrical releases, the various educational services, and the organizational overall. Called a “big picture” thinker, Orly founded The Film Collaborative in response to a dominant and overarching structure that favors middlemen, not filmmakers. She is passionate about protecting filmmakers’ rights and revenues as much as she is about good film. Having worked in the film business for two decades, Orly’s past experience ranges from programming to all aspects of the business of film. Orly and discuss the current state of distribution, what the future holds and how not to get ripped off by a predatory film distributor. Enjoy my conversation with Orly Ravid.