Indie Film Hustle® - A Filmmaking Podcast21 Tammi 2022

IFH 548: How I Wrote a Sundance Film with Chloe Okuno

Well Sundance 2022 has begun and so has our coverage. Today on the show we have writer/director Chloe Okuno.

Chloe is a graduate of UC Berkeley with a masters degree from the American Film Institute Conservatory. There she received the Franklin J. Shaffner Fellow Award, and directed the award-winning horror short film SLUT. Her recent work includes writing a remake of “Audrey Rose” for Orion Pictures and writing and directing a segment of the anthology series V/H/S/94.

She's the director of this year's Sundance feature film Watcher.

Julia joins her husband when he relocates to his family’s native Romania for a new job. Having recently abandoned her acting career, she finds herself frequently alone and unoccupied. One night, people-watching from her picture window, she spots a vague figure in an adjacent building, who seems to be looking back at her. Soon after, while alone at a local movie theater, Julia’s sense of being watched intensifies, and she becomes certain she’s being followed — could it be the same unknown neighbor? Meanwhile, a serial killer known as The Spider stalks the city.

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In making “Watcher,” I wanted to capture a kind of constant, uncomfortable dread that accompanies many women throughout their lives- one that is expressed through the character of Julia. Julia moves into this apartment building with her husband and quickly begins to believe she is being watched.

She recognizes that the Watcher is a threat. She feels it very clearly- even if it’s difficult to articulate the extent of that threat to the people around her. It’s a situation that’s probably quite familiar to most women. We experience the world in a different way than men and then when we try to express that experience, we’re often doubted- written off as paranoid, irrational, or overly sensitive… which in turn can make us begin to doubt ourselves.

This has always been at the core of a story that in other ways has evolved greatly since I was first hired to direct it in 2017. Initially, the script was set in New York City, but when it became clear that we would be shooting the movie in Romania, I decided to rewrite it to take place in Bucharest.

There are times as a filmmaker where practical limitations end up being creatively very freeing- unlocking something great when you’re willing to embrace the unexpected. This was one of those times. Suddenly, Julia’s experience as a foreigner in this new city heightens all her other feelings of unease and uncertainty.

She finds herself increasingly isolated- largely unable to speak the language and therefore alienated from everyone around her. There were of course natural (sometimes uncomfortable) parallels shooting the movie on location in Romania: unable to speak the language, oftentimes sequestered in a hotel room amidst the raging pandemic, and occasionally fighting against the doubt that surrounds you as a woman working in a male dominated profession.

Fortunately, life didn’t fully imitate art. I finished the movie without any nightmarish descent into Watcher-style darkness, content with the hope that all of the tension found its way on screen.

The filmmakers I admire are the ones who are able to create a language for emotion through their craft, translating what they feel into a form that other people can see and experience for themselves.

For Watcher I was inspired by the work of David Fincher, Sofia Coppola, Satoshi Kon, Roman Polanski, Krzysztof Kieslowski, and Mary Harron- filmmakers who have excelled at translating fear, loneliness, and alienation. The hope is always that there will be someone else who can empathize- telling stories so that we can take comfort in the recognition of ourselves in others. As a person filled with seemingly endless anxieties, making films is the best- and possibly the only- way I’ve found to confront them.

I’ve done my best to portray them honestly in this film, and I can only hope that those who have experienced similar fears and anxieties will find solace in the knowledge that they are not alone.

Enjoy my conversation with Chloe Okuno.

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IFH 060: Should You Work for Deferred Payment or Back End Points?

A Indie Film Hustle Tribe member recently asked me"Should You Work for Deferred Payment or Back End Points?"Believe it or not I get this question A LOT! So I decided to dedicate a podcast episode to the question. There are times I would say yes definitely work for deferred payment or back end points. I heard a story of a screenwriter that was asked to do a rush job, write an entire screenplay in two week over Christmas vacation. He really didn't want to do it but the agent said he could get him paid and get him back end points. The screenwriter took the gig, the producer love the script and the movie went on to gross $500,000,000 world wide. He took home over $20 million. Not bad.So yes there is a time to make that deal but alas there are times you should never work for deferred. Take a listen to when to and when not to work for deferred payments or back end points. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

29 Maalis 20166min

IFH 059: How a 17 yr old Shot & Sold her 1st Feature on 16mm Film

Every once in a while I get sent a story that blows my mind. They story is a 17 year old 1st time director shoot and sells her first feature film (that was shot on 16mm) right out of the gate.How that hell does that happen? Well may I introduce you to Kansas Bowling, the director of the feature film B.C. Butcher. Inspired by the likes of Russ Meyer, Annette Funicello, and Roger Corman, Kansas and her friend Kenzie began writing a script in high school about a tribe of cavewomen being stalked by a prehistoric monster.Thus, the first prehistoric slasher was born! At only 17, Kansas directed, co-wrote, and funded her own feature film, entirely shot on 16mm, called “B.C. Butcher”.The film is unique in many ways, being a horror flick and a comedy, featuring live music, gore, gags, and campy historical inaccuracy. Because of this, immediately after shooting, “B.C. Butcher” caught the eye of Lloyd Kaufman (who will be a guest on the podcast in a few weeks), legendary producer/director and founder of Troma Entertainment Inc. Troma acquired the film for distribution and is now slated for a 2016 release.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

24 Maalis 20161h 1min

IFH 058: Tips on How Directors Should Work with a Colorist

Working with a professional colorist can be intimating if you haven't done it before. I've been a colorist for over 12 years and have spent my fair share of time in a color grading suite.I decided to put together a few tips on how filmmakers and directors should work with a colorist. I also included a few videos to help you along on your post adventures.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

22 Maalis 201613min

IFH 057: HollyShorts: Confessions of a Film Festival Programmer w/ Daniel Sol

Have you ever wanted to know what really happens behind the scenes at a top level film festival like the HollyShorts Film Festival? Well this week I kidnapped co-founder and film festival programmer Daniel Sol, tied him up in a darken warehouse and shine a bright light on his face to get the truth out of him. The interview might not have been that dramatic but Daniel laid down a ton of behind the scenes knowledge bombs you all you Indie Film Hustlers out there. HollyShorts! and I go way back. My first short film BROKEN played at the very first HollyShorts Film Festival over a decade ago and I've been friends with Daniel Sol and Theo Dumont (co-founders) ever since. They truly care about filmmakers and were name one of the Top 25 film festivals in the world worth the submission fee by Filmmaker Magazine. Enjoy my candid chat with Daniel Sol from the HollyShorts! Film Festival.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

17 Maalis 20161h 22min

IFH 056: Do You Need an Agent or Talent Agency to Make it in Hollywood?

Is an agent or talent agency needed to make it in Hollywood? Well it helps! Seriously, this is a question I get asked all the time.In this episode I go over what you need to do to get an agent and also help you figure out if you need one right now. Below are the seven major talent agencies in Hollywood.APA Talent AgencySize: 3,400 clients; 325 employees (210 agents, 15 managing partners); offices in Los Angeles, New York and NashvilleOrigin story: Founded in 1962 by former MCA agents David Baumgarten, Roger Vorce and Harvey Litwin.CAA Talent AgencySize: About 5,000 clients; 1,500+ employees; 11 offices worldwide, including in ChinaOrigin story: Founded in 1975 by William Morris agents Mike Rosenfeld, Michael Ovitz, Ron Meyer, Bill Haber and Rowland Perkins.GERSH Talent AgencySize: About 2,000 clients; 175 employees (75 agents, 16 partners); offices in L.A. and New YorkOrigin story: Founded in 1949 by Phil Gersh.ICM PARTNERS Talent AgencySize: 4,500+ clients; 400+ employees (200+ agents and execs, 40 partners); four officesOrigin story: Formed in 1975 with the merger of Creative Management Associates and International Famous Agency.PARADIGM Talent AgencySize: 2,500 clients; 370+ employees (160 agents); six officesOrigin story: Founded in 1992 by Sam Gores through the mergers and acquisitions of several boutiquesUTA Talent AgencySize: 3,000+ clients; 500 employees (200 agents, 46 partners); offices in L.A. and New YorkOrigin story: Founded in 1991 with the merger of Bauer-Benedek and Leading Artists.WME | IMG Talent AgencySize: 4,000+ clients; nearly 5,000 employees (200 agents) in 25+ countriesOrigin story: WME | IMG was founded in 2014 with the merger of IMG and WME, which was founded in 2009 with the takeover of William Morris by upstart Endeavor.Hope this episode helps you out on your journey to get an agent. Good luck!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

15 Maalis 20169min

IFH: Filmmaking Motivation - Go Make Your Film!

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

14 Maalis 20163min

IFH 055: Michael Hauge - Writing a Screenplay That Sells

Michael Hauge - Writing a Screenplay That SellsYou are in for a treat. This week's guest, MICHAEL HAUGE has been one of Hollywood’s top script consultants, story experts and authors for more than 30 years. He coaches screenwriters, novelists, filmmakers, professional speakers, internet marketers and corporate leaders, helping transform their stories and their audiences using the principles and methods of Hollywood’s most successful movies. Michael has consulted on films starring – among many others - Will Smith, Tom Cruise, Reese Witherspoon, Julia Roberts and Morgan Freeman, and has presented lectures and workshops to more than 70,000 participants worldwide. He is the best selling author of Writing Screenplays That Sell (now in its 20th Anniversary Edition), and Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read. According to Will Smith, “No one is better than Michael Hauge at finding what is most authentic in every moment of a story.” - Will SmithAfter our interview Michael Hauge and I decide to bring one of his best courses to the IFH Tribe. We called is Screenplay and Story Blueprint: The Hero's Two JourneysIf you click here you'll get a SPECIAL IFH DISCOUNT: Screenplay & Story BlueprintBecome a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

10 Maalis 201653min

IFH 054: How NOT to Get Ripped Off in Post Production

Over the years I've seen many of my fellow indie filmmakers get completely ripped off when they entered the post production process.So many promises are given and the rates they charge are criminal. I wanted to put together a podcast to pull the curtain back on the "true" pricing of post production services.Now this is based on my experience working in Los Angeles so the prices might differ depending where you are in the country or the world.I hope this episode provides a great amount of value and that it saves you your hard earned cash while making your next indie film. Enjoy!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

8 Maalis 201619min

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