BONUS EPISODE: The Art of the $9000 Micro Budget Indie Film with Edward Burns

Today's guest is bestselling author and creativity expert Jeff Goins. In this episode, he dismantles the myth that being creative is a hindrance to success by revealing how an artistic temperament is, in fact, a competitive advantage in the marketplace.For centuries, the myth of the starving artist has dominated our culture, seeping into the minds of creative people and stifling their pursuits. But the truth is that the world’s most successful artists did not starve.In fact, they capitalized on the power of their creative strength. In Real Artists Don’t Starve, Jeff Goins debunks the myth of the starving artist by unveiling the ideas that created it and replacing them with timeless strategies for thriving, includingSteal from your influences (don’t wait for inspiration)Collaborate with others (working alone is a surefire way to starve)Take strategic risks (instead of reckless ones), make money in order to make more art (it’s not selling out)Apprentice under a master (a “lone genius” can never reach full potential)Through inspiring anecdotes of successful creatives both past and present, Goins shows that living by these rules is not only doable but it’s also a fulfilling way to thrive. From filmmaker to screenwriter to graphic designers and writers to artists and business professionals, creatives already know that no one is born an artist. Jeff Goins’ revolutionary rules celebrate the process of becoming an artist, a person who utilizes the imagination in fundamental ways. He reminds creatives that business and art are not mutually exclusive pursuits. In fact, success in business and in life flow from a healthy exercise of creativity. Expanding upon the groundbreaking work in his previous bestseller The Art of Work, Goins explores the tension every creative person and organization faces in an effort to blend the inspired life with a practical path to success. Being creative isn’t a disadvantage for success; rather, it is a powerful tool to be harnessed.There's no need for filmmakers, screenwriters or any artist to starve anymore! Enjoy my eye-opening conversation with Jeff Goins.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

16 Apr 201857min

Today we are going to discuss Test Screenings. Are they a waste of time? How do you handle comments and criticisms? Who do you invite to test screening and how do you perform a proper test screening?I have a group of five types of creatives I like to invite to see rough cuts of my films.DirectorWriterCinematographerEditorProducerIn the episode, I go deeper into how to handle critiques and go into a bit of history of some famous test screenings that went right and wrong. Enjoy!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

12 Apr 201814min

How to Engage an Audience Before & After You Make Your Indie FilmToday's guest is Kia Kiso, co=producer of the hugely successful indie film Mile… Mile & A Half. Kia and her team where case studies in last weeks guest RB Botto's book Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd because of the amazing job they did crowdsourcing. Check out the trailer below.In an epic snow year, five friends leave their daily lives behind to hike California’s historic John Muir Trail, a 211-mile stretch from Yosemite to Mt. Whitney (the highest peak in the contiguous U.S.).  Their goal — complete the journey in 25 days while capturing the amazing sights & sounds they encounter along the way.  Inspired by their bond, humor, artistry & dedication, the group continues to grow: to include other artists, musicians & adventure seekers.  Before they all reach the summit, hikers and viewers alike affirm the old adage — it’s about the journey, not the destination. Mile… Mile & A Half is the feature-length documentary of that journey…Kia Kiso discusses how they identified, reached out and engaged before and after the production of her film. This episode is a PERFECT companion to lasts weeks (listen to that episode here). Get ready to be inspired and take notes! Enjoy my conversation with Kia Kiso.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

9 Apr 20181h 2min

So today on the show we have returning champion RB Botto from Stage32.com. RB has been on the show six times. Between film festival panels, interviews, and  Sundance. He's always a favorite of the IFH Tribe so I thought it was time to bring him back. He finally finished writing his remarkable new book Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd.Here's some info on the book.Whether you’re a producer, screenwriter, filmmaker, or other creative, you probably have a project that needs constant exposure, or a product to promote. But how do you rise above the noise?In Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd, Richard Botto explains how to put crowdsourcing to use for your creative project, using social media, networking, branding, crowdfunding, and an understanding of your audience to build effective crowdsourcing campaigns, sourcing everything from film equipment to shooting locations.Botto covers all aspects of crowdsourcing: how to create the message of your brand, project, or initiative; how to mold, shape, and adjust it based on mass response; how to broadcast a message to a targeted group and engage those with similar likes, beliefs, or interests; and finally, how to cultivate those relationships to the point where the message is no longer put forth solely by you, but carried and broadcasted by those who have responded to it. Using a wealth of case studies and practical know-how based on his years of experience in the industry and as the founder of Stage 32―the largest crowdsourced platform for film creatives―Richard Botto presents a comprehensive and hands-on guide to crowdsourcing creatively and expertly putting your audience to work on your behalf. This is an EPIC interview. Over two hours but it is FULL of knowledge bombs. We also discuss how I pulled RB out of acting retirement to play a big part in my new feature film "On the Corner of Ego and Desire." I promise you this is a fun episode!Enjoy my conversation with RB Botto.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

2 Apr 20181h 52min

Today’s guest is screenwriter/podcaster Ashley Scott Meyers from Sellingyourscreenplay.com. Ashley is a working screenwriter in Hollywood. He also spends his time running a popular screenwriting blog and podcast. His focus is on helping you sell your screenplay. Here’s a bit of his philosophy in his own words:If you ask 100 different screenwriters how they broke into the business you’re going to get 100 different answers. There is no “right” way to break in. So my philosophy has always been simple: try as many different angles as possible and figure out what works best for you.Below are two short lists of things you should be doing to try and sell your screenplays. I’ve listed them in order of what I think is most effective (your results may vary). One thing to keep in mind, this is not an exhaustive list. You should be thinking of other ways you can market your material and doing those things, too. If you would like to share any of your ideas please email me as I’m always curious to hear how other writers are successfully marketing their material.Also, you may not be able to do everything on these lists, but the more you do the better chances you’ll have. If you’re serious about success, however, you’re going to need to try most of these things, otherwise you’re not going to be giving your screenplay, or yourself, a real chance to succeed.Things you can start doing today.Make phone calls to agents, managers, and producers pitching your materialWrite query letters for your screenplays and snail mail, email, or fax them to agents, managers, and producersScour sites like Craig’s List and other online resources for people looking for screenplays and send them your query letterEnter screenwriting contestsTry and connect with agents, managers and producers on social media sites like Twitter and FacebookLong term items which you should also be doing.We get into it in this interview so take some notes on this epic conversation. Enjoy!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

30 Mars 201850min

Today's guest is Adam Rifkin. Adam Rifkin is a Writer/Director whose eclectic career ranges from family comedies to thought-provoking indies to cult classics.Most recently, Rifkin Wrote and Directed THE LAST MOVIE STAR, a poignant drama starring screen legend, Burt Reynolds, Ariel Winter and Chevy Chase. The critically acclaimed film premiered at the Tribeca Film Festival where it was bought by A24 and is set to be released in March 3o, 2018 in theaters and all streaming platforms. Rifkin also Directed DIRECTOR’S CUT, a wild and twisted meta-thriller penned by iconic illusionist and comedian, Penn Jillette of Penn & Teller. DIRECTOR’S CUT was the opening night film of the 2016 Slamdance Film Festival and will be released by Epic Pictures under their new, DREAD CENTRAL PRESENTS, horror banner.We discuss how he jumped from screenwriter to director, how to handle a problematic actor on set and what it was like directing an icon.Enjoy my conversation with Adam Rifkin.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

29 Mars 201852min

IFH has a NEW PODCAST. Introducing The Bulletproof Screenplay Podcast. Today is a CROSSOVER EVENT to introduce you to the new show. Today’s guest blew my mind on his approach to storytelling and screenwriting. John Truby is one of Hollywood’s premier screenwriting instructor and story consultant.Over the last 25 years, more than 50,000 people have attended his sold-out seminars around the world, with the American Film Institute declaring that his “course allows a writer to succeed in the fiercely competitive climate of Hollywood.”Over the last 25 years, more than 50,000 people have attended his sold-out seminars around the world, with the American Film Institute declaring that his “course allows a writer to succeed in the fiercely competitive climate of Hollywood.”Called “the best script doctor in the movie industry,” Truby serves as a story consultant for major studios and production companies worldwide, and has been a script doctor on more than 1,800 movies, sitcoms and television dramas for the likes of Disney, Universal, Sony Pictures, FOX, HBO, Alliance Atlantis, Paramount, BBC, MTV and more. Truby’s former students’ work have earned more than $15 billion at the box office, and include the writers, directors and producers of such film blockbusters asRatatouille, In Treatment, Pirates of the Caribbean, X-Men I/II/III, Shrek, Mother Mary of Chris, Breaking Bad, House, Lost, Planet of the Apes, Scream, The Fantastic Four, The Negotiator, Star Wars, Sleepless in Seattle, Outbreak, African Cats (which Truby co-wrote for Disney) and more. Truby’s class is also regularly attended by top fiction writers and novelists who have topped the New York Times’ Bestseller List, won numerous prestigious literary awards, and have sold over 46 million books worldwide. Hollywood’s best-kept secret, Truby’s classes regularly attract everyone from first-time writers to A-list writers, producers, directors, filmmakers, story executives, novelists, fiction writers and more.In addition to his sold-out seminars, John Truby remains on the cutting- edge of technology having created and developed Truby Blockbuster – the bestselling software designed to intuitively help writers learn and understand the art of developing their story ideas into fully realized professionally-structured scripts.Truby’s principles and methods are the most modern, exciting approach to screenwriting and storytelling to be developed in a generation, which is why his classes regularly attract everyone from Oscar winners to first-time writers.We get into the weeds of story in this EPIC conversation. Get ready to take notes. Enjoy!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

28 Mars 20181h 33min

Have you ever had to deal with paying out investors, guilds, unions, residuals, and producers from the revenue your film makes? Today's guest is David Zannoni of Fintage House, does just that but on a global scale. David helps you, the producer, ALL the rights for your film globally. Now, this is a subject I didn't know I needed to know about. After meeting David at AFM I knew I had to have him on the show to drop some knowledge bombs on the IFH Tribe.In today’s film industry, it is customary for independent film productions to have a collection account in place. Often film financiers, (international) production companies, sales agents, and lawyers representing any of these parties, require the establishment of a Collection Account before they step on board of, or have their client commit to, a project.What is exactly a Collection Account? A Collection Account is an account opened in the name of an independent, neutral, trusted third party, the so-called Collection Account Manager or simply the CAM. The CAM receives into the Collection Account the revenues generated by the worldwide exploitation of the film from the distributors on behalf of the beneficiaries of the film.This is called Collection Account Management. This ensures that each beneficiary of the film will receive its share of the revenues. Beneficiaries include the sales agent, the producers, (institutional) financiers, talent (writers, directors and actors) and equity investors in the film.A Collection Account is set up in the name of the CAM. The film’s sales agent or worldwide distributor subsequently instructs the local distributors of the film, in each territory and for every media window, to pay into the Collection Account the royalties generated under the distribution agreements.To make sure distributors actually pay to the Collection Account, the sales agent includes the details of the Collection Account in the distribution agreements, the invoices it sends to the distributors, or by means of sending a notice of assignment to the distributors advising them of the existence of a Collection Account for the film.The benefits of having a Collection Account in place are amongst others:Protection of revenuesAvoidance of conflicts between parties of interestCreating transparency in the accounting sideOutsourcing of the film’s administrationHere's a bit on today's guest.David Zannoni negotiates agreements for films and television series for Fintage House clients, is involved in business development, maintains relationships with clients specifically in the US, Latin America, and Spain, and represents Fintage at film markets.On behalf of Fintage House, David has given presentations, workshops and seminars at universities across the globe and at events such as the yearly conference of the National Association of Latino Independent Producers in the US (NALIP), the Winston Baker Film Finance Conferences, the Rio Film Market and the Bogota Audiovisual Market (BAM). David currently resides in Mexico and speaks fluent English, Spanish, Italian and Dutch.Enjoy my conversation with David Zannoni. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

27 Mars 201853min