IFH 682: How to Make Your Own Damn Indie Movie with Lloyd Kaufman

IFH 682: How to Make Your Own Damn Indie Movie with Lloyd Kaufman

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered. That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).

Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy. Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.

Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.[presto_player id=154943]Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute.

Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.

Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.

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MONDAY MOTIVATION!: How To Get Over Your Filmmaking Fears

MONDAY MOTIVATION!: How To Get Over Your Filmmaking Fears

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

20 Maalis 20232min

IFH 666: Shazam! You WON'T Believe How David F. Sandberg Created This Blockbuster Film!

IFH 666: Shazam! You WON'T Believe How David F. Sandberg Created This Blockbuster Film!

So many times we hear those mythical stories of a filmmaker who makes a short film and uploads it to YouTube in hopes of a big-time film producer sees it and comes down from Mount Hollywood and offers him or her a deal to turn that short into a studio feature. Today's guest had that happen to him and then some. On the show is writer/director David F. Sandberg.David's story is the "lottery ticket" moment I speak about so often on the show. His journey in Hollywood is remarkable, inspiring, and scary all at the same time. He created a short film called Lights Out. That short was seen by famed filmmaker and producer James Wan (Furious 7, Aquaman, The Conjuring) who offered to produce a feature film version at New Line Cinema.The feature version of the film was made for $5 million and grossed $150 million at the box office. Here's what the film is about.When Rebecca left home, she thought she left her childhood fears behind. Growing up, she was never really sure of what was and wasn’t real when the lights went out…and now her little brother, Martin, is experiencing the same unexplained and terrifying events that had once tested her sanity and threatened her safety. A frightening entity with a mysterious attachment to their mother, Sophie, has reemerged. But this time, as Rebecca gets closer to unlocking the truth, there is no denying that all their lives are in danger…once the lights go out.The film stars Teresa Palmer (“Triple 9”) as Rebecca; Gabriel Bateman (“Annabelle”) as Martin; Billy Burke (the “Twilight” franchise) as Martin’s father, Paul; Alexander DiPersia (“Forever”) as Rebecca’s boyfriend, Bret; and Maria Bello (“Prisoners”) as Sophie. After the success of Lights Out he tackled the horror prequel Annabelle Creation. That film went on to make over $300 million at the box office with a $15 million budget.Several years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.The studio Gods were pleased with David because he was offered New Line Cinema’s Shazam!, the origin story that stars Zachary Levi (TV’s “Chuck”) as the titular DC Super Hero, along with Asher Angel (TV’s “Andi Mack”) as Billy Batson, and Mark Strong (the “Kingsman” movies) in the role of Super-Villain Dr. Thaddeus Sivana. Shazam! was a box office smash.David and I discuss his days making short films, which he still makes on the side, working in the studio system, his filmmaking philosophy, how he could afford a place to stay in Los Angeles while he was in pre-production on Lights Out and what it takes to make it as a filmmaker in today's world.Enjoy my conversation with David F. Sandberg.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

14 Maalis 20231h 13min

MONDAY MOTIVATION!: Go Make Your Movie NOW!

MONDAY MOTIVATION!: Go Make Your Movie NOW!

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

13 Maalis 20232min

BONUS EPISODE: OSCAR WINNERS! The Daniels Breakdown How they Made Everything, Everywhere, All at Once!

BONUS EPISODE: OSCAR WINNERS! The Daniels Breakdown How they Made Everything, Everywhere, All at Once!

Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

13 Maalis 20231h 5min

IFH 665: Secrets to Working Inside the Hollywood Machine with Boaz Yakin

IFH 665: Secrets to Working Inside the Hollywood Machine with Boaz Yakin

We have for you on the show today screenwriter and director, Boaz Yakin, The writer behind The Punisher, Dirty Dancing: Havana Nights, The Rookie, & Safe and directing, The Fresh, Remember the Titans and the comedy-drama, Uptown Girl among others.Growing up in a talented theatrical family, it was only natural for Yakin to pursue a life in film or some sort of performing arts.His dad, who was a teacher at Juilliard and a theater director enrolled Boaz into the famous Stell Adler script analysis class when he was only 17 years old. Thereafter, he tried out film school at US City college, later transferred to NYU, before quitting school after his first script was auctioned and got him in the door at 19 years old.At age 22, Yakin wrote his first produced film, Marvel's The Punisher. When Frank Castle's family is murdered by criminals, he wages war on crime as a vigilante assassin known only as The Punisher.In 1990, Yakin co-wrote one of the action films of the times, The Rookie, starring star boy Charlie Sheen, and Clint Eastwood who also directed the film.But his big hit came right after, FRESH, Yakin’s directorial debut is an emotional coming of age story, that offers a realistic glimpse of the dangerous life in New York City's projects during the crack epidemic.Michael, nicknamed Fresh, is a 12-year-old kid running drugs for gangsters, notably Esteban, inspired by the chess lessons of his father, an alcoholic speed-chess master played by Samuel L. Jackson. Fresh devises and executes a brilliant plan to extricate himself and his drug-addicted sister from their hopeless lives.Next up for Boaz was directing the box-office smash. REMEMBER THE TITANS.Academy Award® winner Denzel Washington shines in REMEMBER THE TITANS. Based on real events, this remarkable story celebrates how a town torn apart by friction and mistrust comes together in triumphant harmony. After leading his team to fifteen winning seasons, beloved football coach Bill Yoast (Will Patton) is demoted and replaced by tough, opinionated Herman Boone (Washington). How these two men overcome their differences and turn a group of hostile young men into champions is a remarkable portrait of courage and perseverance. You and your family will never forget the Titans!His blockbuster smash, Now You See Me featured big industry names like Morgan Freeman, Jesse Eisenberg, Isla Fisher, Dave Franco, Mark Ruffalo, Woody Harrelson, Michael Caine, etc. The $75 million budget film grossed $351.7 dollars.The plot follows an FBI agent and an Interpol detective who track and attempt to bring to justice a team of magicians who pull off bank heists and robberies during their performances and reward their audiences with the money.Boaz continued his blockbuster ways by working on the $200 million tentpole film Prince of Persia: The Sands of Time, starring Jake Gyllenhaal.A young fugitive Prince and Princess must stop a villain who unknowingly threatens to destroy the world with a special dagger that enables the magic sand inside to reverse time.Boaz and I chatted about his creative process, the business side and political side of screenwriting and directing in Hollywood during this conversation. He was extremely raw and honest about what it really is like working inside the Hollywood machine.Enjoy this conversation with Boaz Yakin.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

7 Maalis 20231h 25min

MONDAY MOTIVATION!: Don't Let Your Filmmaking Spark Go Out!

MONDAY MOTIVATION!: Don't Let Your Filmmaking Spark Go Out!

Monday Motivation! We all need a kick in the butt sometimes on our screenwriting journey. These episodes will do just that. Never stop chasing that dream and keep on hustling.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

6 Maalis 20232min

IFH 664: How to Create a Viable & Profitable Story Idea with Erik Bork

IFH 664: How to Create a Viable & Profitable Story Idea with Erik Bork

Today on the show we have screenwriter and producer Erik Bork. Erik Bork is a screenwriter best known for his work on the HBO miniseries Band of Brothers, From the Earth to the Moon, for which he wrote multiple episodes, and won two Emmy and two Golden Globe Awards as part of the producing team.Erik has also sold series pitches (and written pilots) at NBC and FOX, worked on the writing staff for two primetime dramas, and written feature screenplays on assignment for companies like Universal, HBO, TNT, and Playtone. He teaches screenwriting for UCLA Extension, National University, and The Writers Store, and offers one-on-one consulting to writers.[Why don’t most scripts have the kind of success their writers' dream of? Because of problems with the basic idea for their story. Which the writer is usually unaware of. While story structure and scene writing choices do need to be top-notch, writers tend to rush into those parts of the writing process too quickly, without vetting their basic concept.This is a mistake professional rarely make because their agents and managers insist that ideas be run past them first. And this usually leads to serious notes and development before the outlining process even starts.The Idea: The Seven Elements of a Viable Story for Screen, Stage or Fiction form an acronym for the word PROBLEM, since every story is really about one, at its core. Each chapter focuses on one of these seven deceptively simple-looking aspects of a strong story, which are anything but easy to master. Mr. Bork highlights his own struggles as a writer and his arrival at an understanding of how each of these elements works -- and how to know if one's idea really succeeds at each of them. A special section devoted to television writing (and its unique attributes) ends each chapter.Whatever your education and background in writing or story, this book and its unique focus contribute foundationally useful information not covered elsewhere -- which may be the missing piece that leads to greater results, both on the page and in the marketplace.Enjoy my conversation with Erik Bork.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

2 Maalis 202357min

BONUS EPISODE: How Indie Films Can Use The Mandalorian Virtual Production Tech with Rene Amador

BONUS EPISODE: How Indie Films Can Use The Mandalorian Virtual Production Tech with Rene Amador

What if indie filmmakers could access the same virtual production systems used on the hit Disney+ show The Mandalorian? What if you could use that same technology at home for your productions? What if it cost less than most RED Camera packages? Today's guest wants to do exactly that. Rene Amador is the co-founder and CEO of the virtual production tech company ARWall.Rene boasts 24 years of working with 16 startups, starting young working for his parent’s startups in silicon valley. He’s also directed over 350 commercials, short films, and pilots. Most recently as co-founder at ARwall, Rene won the SXSW Accelerator 2018 AR/VR category pitch, has been acknowledged as a top AR tech evangelist in Hollywood and designed the first ARwall Lab in Burbank.Rene and his team have developed a professional virtual production system that filmmakers can use at home powered by the most powerful real-time graphic engine on the market. How does this all work you may ask? ARFX requires a tracker and at least two sensors installed on set.Once the tracker is calibrated and attached to the camera, the director of photography has the ability to move anywhere inside the tracked space. The virtual scene runs on the system updates in perfect real-time, no matter where the camera is positioned. This creates a seamless window illusion into the virtual space.Filmmakers really put this tech to the test on Disney+'s Star Wars show The Mandalorian. If you haven't seen this show do yourself a favor and get a monthly subscription to Disney+, sit back and enjoy.I also recommend you watch The Gallery, a behind the scenes show on how they made The Mandalorian.I'm not saying a newcomer to the filmmaking process will just be able to pick up this tech and make The Mandalorian but the tools are there for filmmakers who are ready to make that leap.This is a massive jump in how filmmakers tell their stories. ARWall's Home Studio is the next jump for indie filmmakers. The cost is cheaper than most RED or ALEXA cameras.This technology is one of the most exciting filmmaking tools to come out since digital cameras became the norm. Not only is this tech cool but the speed that it became affordable for the independent filmmaker is mind-blowing.It took a decade before we had access to the same ground-breaking technology that was used in Jurassic Park.Rene and I talk virtual production, The Mandalorian, the future of the AR Wall, and how indie filmmakers can start using this technology today.Enjoy my conversation with Rene Amador.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

1 Maalis 20231h 21min

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