Indie Film Hustle Podcast: Filmmaking | Film School | Screenwriting | Film Marketing | Independent Film | Cinematography | Film Festival

Surviving the Hollywood Implosion with Scott McMahon Is there an implosion coming to Hollywood? Film Trooper Scott McMahon thinks so and he’s not alone. Think its crazy, think again. Listen to what the king of the blockbusters Steven Spielberg had to say, “There’s going to be an implosion. Mega budget movies are going to go crashing into the ground and that’s going to change the paradigm.” If the Hollywood implosion does come to fruition, then where do aspiring filmmakers go to make a living? Step in Film Trooper Scott McMahon. Scott created a book entitled “How to Make and Sell Your Film Online and Survive the Hollywood Implosion While Doing It.” (FREE AUDIO BOOK VERSIONS HERE) There are a lot of books on how to make a movie and how to be part of the Hollywood machine; but this step-by-step guide will show you, the über independent filmmaker… …how to bypass all of that and get to the heart of making and selling digital products (your film) directly to an online audience and survive the Hollywood implosion while doing it. I’ve known Scott McMahon for a while now and he’s a wealth of information. He’s truly trying to help the “über independent filmmaker” make it in the film business. His site Film Trooper is a perfect extension of his mission. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Filmtrooper.com * How to Make and Sell Your Film Online and Survive the Hollywood Implosion While Doing It. * How to Make and Sell Your Film – FREE AUDIO BOOK VERSION * IFH: Guerrilla Indie Film School * USC Film School’s ONLY On-line Course: Directing the Actor * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! * Thankskilling Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS.  If you like Surviving the Hollywood Implosion with Scott McMahon, then take a listen to: Top 10 Indie Filmmaking Podcasts Enjoyed “Surviving the Hollywood Implosion with Scott McMahon” Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit.

What Happens After You Win the SXSW Film Festival? Have you always wonder what happens to indie filmmakers  who win HUGE film festivals like the SXSW Film Festival? Well wonder no more. I’ve invited one of my oldest friends onto the show, Brant Sersen, the writer and director of the SXSW Audience Award winning film “Blackballed: The Bobby Dukes Story” staring Rob Corddry. Some other films he’s directed are Release, Splinterheads, and Sanatorium. Over the years I’ve heard Brant tell me all sorts of stories about his misadventures in Hollywood. So if you are expecting a “Entourage” style story you’re on the wrong website. What I try to do with Indie Film Hustle is to give you the no BS info, stories and experiences you can only get by being in the heat of battle. Brant Sersen’s story is no different. Brant shares his ups and down on the Hollywood roller coaster, what it takes to make it as a working filmmaker and shares behind the scenes stories of working with big name talent. Enjoy the podcast! Here’s the trailer to Blackballed: The Bobby Dukes Story: Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * IMDB * Blackballed: The Bobby Dukes Story * IFH: Guerrilla Indie Film School * USC Film School’s ONLY On-line Course: Directing the Actor * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS.  If you like this episode, then take a listen to: Top 10 Indie Filmmaking Podcasts Enjoyed “What Happens After You Win the SXSW Film Festival with Brant Sersen” Please share it in your social networks (

 VFX Supervisor: Their Role & How They Can Help Your Film How can a VFX Supervisor make your indie film’s VFX shine? I’ve been a VFX Supervisor on multiple feature films, shorts, commercial and music videos. My job was to get the shots the director wanted executed at a very high standard and of course on budget. The official definition of a visual effects or VFX supervisor is: VFX Supervisors are responsible for achieving the creative aims of the director and/or producers through the use of visual effects. Related: Star Wars The Ultimate Visual Effects Breakdowns Specific responsibilities the a VFX Supervisor vary depending on budget, scope and the nature of the production, however most VFX supervisors: * Handle a VFX project from the start of the project through to completion * They oversee the technical, artistic, and production personnel on the visual effect team * Possess a knowledge of various VFX techniques including an emphasis on camera set-ups and film knowledge with an eye for composition and camera work. * Accurately predict timing and budget associated with the project * Collaborate with production on the bidding and the negotiation processes I’ve seen many independent films come through my doors at Numb Robot with VFX dreams in their eye but also with no understanding or budget on how to achieve them; that’s where a good VFX Supervisor comes in. In this episode I breakdown what a VFX Supervisor does and also the things indie filmmakers need to understand before creating Jurassic World in their backyard. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Understand the VFX Pipeline Online Course – DOWNLOAD HERE * IFH: Online Indie Film School * USC Film School’s ONLY On-line Course: Directing the Actor * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS. If you like VFX Supervisor: Their Role & How They Can Help Your Film, then click below: Indie Film VFX Master Class with Dan Cregan Enjoyed “VFX Supervisor: Their Role & How They Can Help Your Film” Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks.

How a Post Production Supervisor Can Save Your Butt! So how can a Post Production Supervisor save your butt? Well I’ve been a Post Production Supervisor for over 15 years and have seen a lot of indie filmmakers get beaten up, taken advantage of and just plain ripped off in the post production process. In short the Post Production Supervisor is there to protect the film or project from going over budget, getting ripped off and making sure everything is done on time and budget. Here is the official definition of a Post Production Supervisor: Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. The Post Production Supervisor has a pivotal role in ensuring that the film’s post production budget is manageable and doable, and that all deadlines are met. The role of the Post Production Supervisor varies depending on the type of film or project and the all important budget. On big budget, visual effects heavy film projects, Post Production Supervisors start work during pre-production, going as an in between with the VFX House and ensuring that the producer is aware of all the creative and budgetary considerations and how they may impact on the all important post production period. I know many Post Production Supervisors who work on huge studio tent poles and let’s just say they are aging fast! It’s a high stress job to say the least. On smaller budget film projects they also advise on the limitations that may need to be applied to the shoot in order to finish it, as well as providing an overall picture of what can be realistically achieved in post production within the budget. Take a listen as I describe what a Post Production Supervisor does, what to look for when hiring one and how they can save you money in post production. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Post Production Consulting * Numb Robot: Post Production for Indie Films * IFH 014: Post Production Workflow – Understand It or DIE! * Tugg: Theatrical Self Distribution * IFH: Guerrilla Indie Film School * USC Film School’s ONLY On-line Course: Directing the Actor * FreeFilmBook.com (Your FREE Filmmaking Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS.  If you like this episode, then take a listen to: Post Production Workflow – Understand It or ...

  The Hateful Eight: How it’s keeping film alive! Ah, the good ol’ digital vs film debate. Well you won’t get any of that in the article or podcast. With Quentin Tarantino’s The Hateful Eight coming out Dec 25, 2015, and it being shot on “Glorious 70mm,” there has been a lot of chatter about film again. With filmmakers like Christopher Nolan shooting 35mm and IMAX on his latest film and JJ Abrams shooting Star Wars: The Force Awakens in 35 mm, film seems to still be an art form that many filmmakers are not ready to let go of just yet. What Quentin Tarantino has done with The Hateful Eight is unique. He has brought back to life the Ultra Panavision 70 technique along with anamorphic 65mm lenses that haven’t been seen since the 60’s. Here are some specs: * Camera: Panavision 65 HR Camera and Panavision Panaflex System 65 Studio * Lenses: Panavision APO Panatar * Film Stock 65mm: Kodak Vision3 200T 5213, Vision3 500T 5219 * Aspect Ratio: 2.75:1 Quentin Tarantino has some very strong opinions about shooting digital. “Part of the reason I’m feeling [like retiring] is, I can’t stand all this digital stuff. This is not what I signed up for,” he said. “Even the fact that digital presentation is the way it is right now – I mean, it’s television in public, it’s just television in public. That’s how I feel about it. I came into this for film.” He continued: “I hate that stuff. I shoot film. But to me, even digital projection is – it’s over, as far as I’m concerned. It’s over.” “If I’m gonna do TV in public, I’d rather just write one of my big scripts and do it as a miniseries for HBO, and then I don’t have the time pressure that I’m always under, and I get to actually use all the script,” he explained. “I always write these huge scripts that I have to kind of – my scripts aren’t like blueprints. They’re not novels, but they’re novels written with script format. And so I’m adapting the script into a movie every day.” This is what he said he’d do if he would write another huge epic. “The one movie that I was actually able to use everything – where you actually have the entire breadth of what I spent a year writing – was the two Kill Bill movies because it’s two movies. So if I’m gonna do another big epic thing again, it’ll probably be like a 6-hour miniseries or something.” The Hatful Eight will be getting a nation-wide release in Ultra Panavision 70, that means it’ll be the first fiction feature film screened in anamorphic 70mm with a single-projector Cinerama system since Khartoum in 1966. Watch Quentin Tarantino, director of photography Bob Richardson and Panavison explain how they brought Ultra Panavision 70, back to life in The Hateful Eight. A Christmas Eve Conversation With Quentin Tarantino & Paul Thomas Anderson on 70mm Film Quentin: I didn’t realize how much of a lost cause [35mm] was. At the same time I didn’t realize to the same extent 70mm would be a drawing point. Not just to me and other film geeks. There is no intelligent argument to be had that puts digital in front of [70mm]. It actually might be film’s saving grace. Film’s last stand. Film’s last night in the arena — and actually conquer. Quentin Tarantino’s nine feature The Hateful Eight opens in US cinemas on December 25. Side by Side

How I made over $90,000 selling my short film. So I directed a small action short film a few years back called “BROKEN.” I shot the short film on MiniDV Tape (yes I’m old) on the Panasonic DVX 100a, the indie film workhorse of its day. My team and I filmed it in West Palm Beach Florida (not exactly the Mecca of the film industry) and it starred only local, non named actors. Now once the filming was over I marketed the living hell out of that short film. It went on to screen at over 250 international film festivals, won countless awards and was covered by over 300 news outlets. That little short film had a life of it’s own. I even got a review from legendary film critic Roger Ebert (to hear the full story on how that happen take a listen to this podcast: Getting Attention from Influencers & Gatekeepers) “BROKEN is essentially a demonstration of the mastery of horror imagery and techniques. Effective and professional.” – Roger Ebert Roger Ebert at the Toronto International Film Festival. Now you must be asking, “But Alex how the hell did you make money with it?” Well, I knew that no one would pay “real money” for a 20 minute short film, shot on MiniDV, with no name actors and from a first time director to boot. So I planned to create a guerilla indie film school with over 3 hours of footage, tutorials, commentaries and more.  By creating all the supplemental material and packaging with the short film on DVD I created a viable product for the marketplace. VOD (Video on Demand) and digital download technology was just getting off the ground and still very expense, if it worked at all. Youtube was not “Youtube” yet, it had just launched. So DVD was the only way to go. I went after every message board and film news outlet I could get my hands on. I’d had created so much hype around the release that on day one I sold over 250 DVDs for $20.00 a pop. That’s $5000!  The orders kept coming and I went on to sell over 5000 copies world wide (and counting), shipping them out of my bedroom in Fort Lauderdale, FL.  Speaking on a panel at the Director’s Guild of America opening night at Hollyshorts! Film Festival 10 years later I’m still selling copies today, as crazy as might sound. I’ve probably have generated well over $90,000 selling that little short film over the years. All because I understood my market place and what it needed.  At the time there was nothing on the market like the BROKEN DVD; no courses on how to make a low budget indie feature or short film with low budget technology. BROKEN has found a new life in Indie Film Hustle’s first online educational course “Filmmaking Hacks: How to Shoot and Market Your Indie Film.”  Included in this indie film school collection is close to 7  hours & over 50 tutorial videos.

 Horror Films: How to Make Your Indie Films Terrifying. Making  scary independent horror films in the current marketplace is difficult to say the least. Today’s sophisticated audiences are getting harder and harder to scare everyday. When many filmmakers start out they make a film in the horror genre. It worked for famed filmmakers like Guillermo del Toro, Sam Raimi, George Romero, James Wan, John Carpenter, Wes Craven, Roman Polanski, David Cronenberg and Alfred Hitchcock just to name a few. On this week’s episode I’m join by the aficionado of horror films Edwin Pagan from LatinHorror.com. We discuss what it takes to make terrifying horror films, the difference between Latino horror films versus Korean or American horror films and what is truly terrifying. We also packed this scary episode with indie filmmaking tips on the do’s and don’ts of indie horror filmmaking, adventures of a working cinematographer in New York City and what it really takes to scare the hell out of your audience. Don’t listen to episode alone. Happy Halloween and be safe everyone! Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE. * LatinHorror.com *

Don’t Only Hire a DP because they own a RED Camera! Now before I get a bunch of hate mail please let me explain. I love cinematographers. You can’t make a movie without one and I don’t take their craft lightly. This is one of the reasons I wanted to do this podcast. Being a DP is by far one of the toughest positions on set. The pressure is immense. With that said the explosion of low cost cameras (RED Camera, Black Magic, Canon 5D, Nikon, iPhones, etc) and lighting gear has thrown a huge amount of “cinematographers” into the market place. Related: Why filmmaker SHOULDN’T Shoot 4k This podcast is a warning to young and inexperienced filmmakers not to hire, not only a director of photography, but any top level crew member solely because they own some of the latest cool gear. This advice also goes for sound department, editorial, lighting, visual effects and definitely color grading. When hiring any top level positions on a film production it should be based on resume, demo reel, credits and/or reputation. It takes a lot of time to learn a craft as complex as cinematography so don’t be fool by someone who happens to have the new 12K Camera that hit the market. Owning a RED Camera or equivalent doesn’t make you a cinematographer, years of working and learning your craft does. BTW, that 12K camera doesn’t exist yet just in case you were going to goggle it. Now if you have two cinematographers in the running to shoot your first indie feature film, short film or film project and one has a full RED Camera (DRAGON) or Arri ALEXA package and the other one doesn’t then by all means hire the great DP that owns gear (only if you can handle the post workflow). Listen to my podcast: Understand Post Production Workflow of DIE! for more on that.   Owning your own “kit” or gear is almost a must to work in the film business today. Hell I own my own gear and I package deals all the time that would cost a ton if you would have to hired a colorist and a separate color grading rig. All I’m saying is don’t hire a crew member just because of the gear he or she owns. You’ll thank me. Take a listen to this episode to hear my horror story that cost me over $50,000. OUCH! Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE. * IFH: Guerrilla Indie Film School * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS. If you like this show take a listen to: Suki Medencevic ASC & the Art of Cinematography

Film Distribution on VOD with Linda Nelson The world of film distribution is filled with unknown land mines. Even more mysterious is how an indie filmmaker can get their film placed on these elusive VOD or Video on Demand platforms? Video on Demand’s definition has been broaden in recent years. Before it only meant VOD on you cable box from Comcast, Time Warner or Direct TV but today that list has grown dramatically. There are over 170 different video on demand platforms available to indie filmmakers today. Some of the top film distribution/VOD platforms are: * Netflix * Hulu Plus * Vimeo Pro * YouTube (Paid) * Roko * GooglePlay * Amazon VOD HD * Amazon Prime * ViaWia * Snagfilms * iTunes * Playstation * Vudu But just like a fugley teenager trying to get into a hot night club on South Beach, there are bouncers at the door who don’t want to let you in. That’s where this episode comes in, we have video on demand expert Linda Nelson from Indie Rights, the film distribution arm of Nelson Madison Films. Linda walks us through the maze of VOD and film distribution options and explains what it takes to get your film placed in the potentially very lucrative platforms. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Indie Rights – Film Distribution * Nelson Madison Films * IFH: Guerrilla Indie Film School * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS. If you like this show take a listen to: How to Make Your Indie Film into a Money Making Business Enjoyed this on Film Distribution? Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks. I welcome thoughts and remarks on ANY of the content above in the comments section below… Get Social with Indie Film Hustle: Facebook: Indie Film Hustle Twitter: @indiefilmhustle  Instagram: @ifilmhustle YouTube: Indie Film Hustle TV Podcast: IFH Podcast

Getting Attention from Influencers – My Roger Ebert Story I always get asked by indie filmmakers: “How do I get attention for my indie film?” This is one of the major challenges facing indie filmmakers/entrepreneurs in today’s noisy independent film landscape. One fast way is to get an “influencer” to focus a little light onto you or your project. Now this is much easier said than done. When I promote my projects I approach every online indie film influencer I can. This includes indie film sites, niche sites (around your subject matter), industry news outlets, film magazines, movie fan websites, film festivals, podcasters, conventions, and movie reviewers. This is how my films have been covered by over 300 international film websites, magazines, and new outlets. I was even featured in the best selling indie filmmaking book “Making Short Films: The Complete Guide from Script to Screen.” I put my films and myself out there to be seen and consumed. I had many offers, meetings with Hollywood “players” and opportunities purely because I shouted from the top of the mountain about my projects. “BROKEN is essentially a demonstration of the mastery of horror imagery and techniques. Effective and professional.” – Roger Ebert (Chicago Sun-Times) The number one question I get asked is: “How the hell did you get Roger Ebert to review your little short film?” In this podcast I tell the story of how the legendary film critic Roger Ebert was so amazingly kind to a young filmmaker. For those of you who are not familiar with Roger Ebert’s work, he was arguably the most famous and powerful American film critic during his lifetime. For decades filmmakers prayed for his famous “thumbs up” and feared his “thumbs down.” He recent passed away but if you want to learn who this remarkable man was I would suggest you watch this amazing documentary on his life “Life Itself.” Check out the trailer below. As the above trailer states: “Roger Ebert gave life to new voices and gave life to new visions that reflected all the diversity of this nation”. There will truly never be another Roger Ebert. I want to use this story as a way to teach independent filmmakers two things: * Put yourself in a place or arena that better your odds of accessing influencers and gatekeepers. * Be ready when the opportunity presents itself. My story is as much to do with luck as it does with being prepared. Luck and preparation are bedfellows on your journey as a indie filmmaker, as many successful filmmakers will tell you. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Life Itself – Roger Ebert Documentary *

American Film Market: Selling Your Independent Film If you have ever looked into selling your film at a film market then you more than likely have heard of the North America’s largest film market, AFM or the American Film Market. The American Film Market is a labyrinth of crazy characters, thieves, wannabes, filmmakers hustling their latest film, distributors, industry professionals and of course buyers and sellers from around the globe. My guest this week is Ben Yennie who has written the only real guide to this carnival called “The Guerilla Rep: American Film Market Distribution Success on No Budget.” You should not go to the American Film Market or any film market for that matter without reading this book. It’s a no-nonsense guide to establishing relationships with distributors at The American Film Market or any film market around the globe like: * Marché du Film (associated with Cannes International Film Festival) * MIPCOM * MIPTV * Cinemart * NATPE * European Film Market (EFM, associated with the Berlin International Film Festival) * Hong Kong International Film & TV Market (FILMART) * Hot Docs (For Documentaries) * Independent Film Week / Project Forum (formerly known as IFP Market) * TIFFCOM (Content Market at the Tokyo International Film Festival) Ben Yennie is a producer’s rep. Yes I know I did an earlier podcast warning you to stay away from evil producer’s reps (What’s a Producer’s Rep and How Not to be Ripped off!) but Ben is one of the good guys. He doesn’t take cash upfront to sell or represent your film at a film market. Are you a filmmaker wanting to know the real “skinny” on what goes on at the buying and selling of films at film markets? Then, this podcast is for you. Ben Yennie spits some major gold on the American Film Market in this episode. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * The Guerilla Rep: American Film Market Distribution Success on No Budget – FREE AUDIO BOOK VERSION * Producer’s Foundry Film Marketing Workshops * American Film Market * IFH: Guerrilla Indie Film School *

Post Production Workflow – Understand it or DIE! I know I’m being a bit dramatic when I say… “Understand Post Production Workflow or DIE!” …but I’ve seen and been involved with sooooooo many independent films that just die in post production because of one simple thing, they didn’t understand post production workflow. Post Production Workflow is not a black art that only a few understand, granted it is getting more and more complicated these days but you as a indie filmmaker can still understand the basics. Post Production Nightmare Example: If you have a RED Dragon your director of photography can bring to the party when you’re shooting your film great! Now what you need to ask yourself is what that “FREE” Red Dragon is going to cost you in post production. If you had a plan of editing your film on you laptop forget about it. The post production workflow for the RED Dragon 6K is a beast and you would not be able to edit at home. You would then need to hired an editor who can handle that workflow and understands where his work is going to next, color grading. This is fine if you budgeted for an editor but if you have no more money and you have all this amazing footage sitting on hard drives then you are screwed. I’ve worked on films with major movie stars in it that fell into this trap. I’m not even going to bring up visual effects, that’s another conversation entirely. Take a listen to this episode. I hope it shines a light on this dark little corner of independent film that is understanding your post production workflow. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Post Prod. Consulting * IFH: Guerrilla Indie Film School * Custom Post Prod. Workflow for Your Independent Film * Numb Robot Studios – Post Production & VFX Services * Blackmagic Design DaVinci Resolve Software for Mac/Win/Linux * Adobe Premiere Pro CC * Final Cut Pro X * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS.

Going Inside the Edit with Paddy Bird I’ve been an editor now for over twenty years. When I was starting out I looked everywhere for some course, book, video, or anything that could teach me the black art of creative editing. There are many courses design that teach you AVID, Adobe Premiere or Final Cut Pro software but nothing on the creative process. One day I was surfing the net and found this site called “Inside the Edit.” The site was boasting the it was the world’s first “creative video editing course,” which I found very hard to believe. I took the course for a test ride and OH MY GOD, they did it, they cracked the code. Take a look at this: I would have killed for Inside the Edit I would’ve killed for Inside the Edit when I was starting out. I looked up the crazy man who created this and found Paddy Bird hiding behind the curtain. Paddy Bird  is one of television’s most prolific and accomplished editors. For the past fifteen years he has edited dozens of prime time documentary, entertainment and reality TV shows for British and American television. He has even worked in war zones, spending time editing news stories on location in Iraq. I had to have him on the show and here we are today. This episode is one of the most enjoyable ones I’ve had to date. Just to old workhorse editors shooting the sh*t! Paddy Bird drops a ton of info on this episode. If you want to become an editor or if you just want to have a better understanding of storytelling Inside the Edit is for you. You get over 60 tutorial videos (he plans over 200 when he’s done) and new videos added every week. Some of these tutorials are 2 hours long. The production quality is remarkable, he even lets you download footage so you can practice yourself. Paddy Bird: The Mad Scientist I’m going to say it, Paddy Bird is a mad man or mental as he puts it. He has written over one million words creating this opus. What Paddy and his team have done is just remarkable. In a sea of crap video tutorials and courses Inside the Edit is just elegently amazing. I talked Paddy and his team into giving the Indie Film Hustle Tribe a IFH DISCOUNT – 10% OFF the ANNUAL MEMBERSHIP, just email Inside the Edit to get your discount, click here: IFHDISCOUNT@insidetheedit.com You can do monthly or a yearly membership. It will be one of the best investments you make on your storytelling journey. Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * Inside the Edit – 10% OFF Annual Membership email: IFHDISCOUNT@insidetheedit.com * Inside the Edit * IFH: Guerrilla Indie Film School * Blackmagic Design DaVinci Resolve Software for Mac/Win/Linux * Adobe Premiere Pro CC *

How to Turn Your Independent Film into a Money Making Business So many independent film creators just want to think of themselves as artists. That’s perfectly fine but it’s called show business for a reason. If you don’t understand the business you won’t be able to create the show. If Coca Cola comes out with a new flavor do they do market research? Do they create a marketing plan to introduce the new product? You bet your butt they do. Now when indie filmmakers create a new independent film or “product” most of the time they just throw there finished baby into the marketplace and hope for the best. This is NUTZ! All that time, hard work, money, pain, blood, sweat and tears that goes into creating an independent film is for nothing. They just hope for the best? It’s insanity. In this episode I share with you what it takes to change your mindset and start thinking of your independent film not just as a precious piece of art but to also think of it as a product that needs to do well in the marketplace in order for you, as the filmmaker, to continue putting on that show! Right click here to download the MP3 LINKS AND RESOURCES MENTIONED IN THIS EPISODE * IFH: Guerrilla Indie Film School * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS. If you like this show take a listen to Dov Simens Interview: America’s Greatest and Quentin’s Tarantino’s Film Teacher Enjoyed this blog post? Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks. I welcome thoughts and remarks on ANY of the content above in the comments section below… Get Social with Indie Film Hustle: Facebook: Indie Film Hustle Twitter: @indiefilmhustle  Instagram: @ifilmhustle YouTube: Indie Film Hustle TV Podcast: IFH Podcast

Suzanne Lyons: How to Produce Your First Feature Film (Part 2 of 2) Here’s part two of my interview with Suzanne Lyons. This week on the show I’m excited to have uber independent film producer Suzanne Lyons. She has been living in the indie film space for over twenty years. Working on SAG Ultra Low Budgets to over $15,000,000 budgets she has seen it all. Suzanne Lyons takes you by the hand and walks you through what it takes to produce your first feature film. She goes over the pitfalls, legal concerns, deliverables, selling to foreign countries and most importantly of all how she gets her financing for her feature films. She laid out such amazing information that I had to break the episode up into two parts. I spoke at one of her famous indie film producing workshop and learned a ton while I was there. Suzanne Lyons also wrote an amazing book called Indie Film Producing: The Craft of Low Budget Filmmaking. I suggest you all pick it up. It’s better than film school! Right click here to download the MP3 of PART ONE Right click here to download the MP3 of PART TWO   LINKS AND RESOURCES MENTIONED IN THIS EPISODE: * Suzanne Lyons IMDB * Suzanne Lyons Production Company * IFH: Guerrilla Indie Film School * Indie Film Producing: The Craft of Low Budget Filmmaking – FREE AUDIO BOOK VERSION * FreeFilmBook.com (Your FREE Audio Book) * Six Secrets to get into Film Festivals for FREE! Action Items: * Subscribe to the Podcast on iTunes,  Stitcher, Soundcloud or via RSS. If you like this show watch this: Christopher Nolan Master Class: How to Direct Your First Feature Film Enjoyed this blog post? Please share it in your social networks (Facebook, Twitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks. I welcome thoughts and remarks on ANY of the content above in the comments section below… Get Social with Indie Film Hustle: Facebook: