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Your free online film school. Learn filmmaking from other independent filmmakers. We cover topics such as screenwriting, film finance, pre production, directing, film editing, marketing and much much more. Join us as we talk with filmmakers in all walks of life to first-time filmmakers outside of the Hollywood system, to Oscar Winners and Filmmakers who have worked for the Studio System.
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Now displaying: 2015
Dec 16, 2015

The 90 Day Screenplay with Alan Watt

When it comes to learning screenwriting, it is rare to find a book from someone who is actually a working writer. In this episode of the Indie Film Academy Podcast, I talk with Alan Watt about his career as a screenwriter and many of the ideas in his book The 90-Day Screenplay.

Alan is also the founder of the L.A. Writer's Lab and can be followed on Twitter.


Show Notes:

Free Film Audiobook
Secrets To Sell Your First Film ($50 Off!)
L.A. Writer's Lab
The 90-Day Screenplay
It's A Wonderful Life
Star Wars
Rocky

Dec 9, 2015

There are few people who have had the opportunity to witness the Golden Age of filmmaking at close range like Fraser Heston. His earliest memories are going to the set of the film Ben Hur and dressing up like his father, legendary actor Charleton Heston.

Later, Heston would to on to become a writer and director in his own right with such films and Needful ThingsTreasure Island and The Search for Michael Rockafeller.

In this episode we take a walk down memory lane and also get some great insight into the directing process. 

 

More about Fraser from Agememnon Film's Website:

FRASER C. HESTON, the son of actor Charlton Heston and Lydia C. Heston, began his film career in Hollywood in 1955, on the back lot at Paramount Studios, playing the infant Moses in Cecil B. DeMille’s TEN COMMANDMENTS. His father, of course, portrayed the adult Moses, though Fraser has not forgiven him for taking first billing. Fraser had an extraordinary childhood, travelling the world with his parents, essentially growing up on film sets, giving him a love of adventure, travel, and a life-long fascination with filmmaking.

Fraser studied marine biology at UCSD and English and writing at UCLA. He became a licensed white-water river guide on Idaho’s Salmon River at age 19. He soon turned his focus on film, and wrote his first produced screenplay at 21, THE MOUNTAIN MEN for Columbia pictures. Since then he has written, produced and/or directed numerous feature films, television movies, and documentaries, including MOTHER LODE, starring Charlton Heston and Academy Award winner Kim Basinger, which brought about the founding of his production company, Agamemnon Films, in 1981. He co-produced THE PROUD MEN for ABC; wrote and produced A MAN FOR ALL SEASONS for Ted Turner’s fledgling network TNT, and wrote, produced and directed the critically acclaimed TREASURE ISLAND (a lifelong dream), starring his father and Academy Award winner Christian Bale. Fraser also wrote, produced and directed the Sherlock Holmes film CRUCIFER OF BLOOD for Turner.

Fraser Camera

Fraser directed the Stephen King thriller NEEDFUL THINGS and the family adventure film ALASKA, both for Castle Rock Entertainment/Columbia Pictures. He also produced the highly successful and critically-acclaimed documentary CHARLTON HESTON PRESENTS THE BIBLE, for A&E and Agamemnon, and the documentary CHARLTON HESTON & BEN-HUR, for Warner Brothers. Most recently, he wrote, produced and directed the award-winning documentary THE SEARCH FOR MICHAEL ROCKEFELLER, solving the mystery of the famous scion’s disappearance in New Guinea in 1961. Fraser has also written, with Heather J. McAdams, the screenplay for the feature version of that film, as well as the contemporary thriller DESOLATION SOUND, for Agamemnon.

Always an avid outdoorsman, sailor, mountaineer, photographer and fly fisherman, Fraser’s travels and adventures have included voyages and expeditions to Alaska, Canada, Africa, Scotland, Ireland & Europe, the Amazon, the Andes, Patagonia, the Caribbean, Australia, the Red Sea, the South Pacific, Hawaii, Norway, Sweden & the North Sea, The Mediterranean, the Aegean, British Columbia, the Yukon, the North Pacific and a remarkable sailing voyage circumnavigating Cape Horn. He continues to travel the world, in search of adventure and a good story.

Fraser Cape Horn

Fraser is a member of The Academy of Motion Picture Arts and Sciences, The British Academy of Film and Television Arts, The Director’s Guild of America, the Writers Guild of America, and The Explorer’s Club.

Fraser lives in Los Angeles with his wife Marilyn and son Jack, only a few minutes from the back lot at Paramount.

Dec 1, 2015

Music Supervisor Dan Wilcox discusses what filmmakers need to know about licensing music for your film and some of the ways to get great songs for cheap. We also discuss topics such as royalty free music, right free music and the wacky world of music licenses. 

Nov 25, 2015

Darious Britt (aka D4Darious) started posting filmmaking videos back in 2012. Through the years he has learned what works and what doesn't and ways that filmmakers can grow their personal brand by connecting with an audience. 

 

Check out D4Darious on YouTube.

Nov 17, 2015

If you have watched The Fresh Prince, In Living Color, Roc or the Disney hits The Princess and the Frog or Treasure Planet, you have most likely laughed at something that came out of writer Rob Edwards' imagination. Rob is not only an amazing writer and teacher, he is also funny as hell. So it was a pleasure to sit down for almost 2 hours and talk with rob about his way of approaching things such as story, character and plot.

Nov 9, 2015

Chris Soth joins us today to discuss his career as a screenwriter, including his film Firestorm which made him $750,000 straight out of film school. He also discusses his book "Million-Dollar Screenwriting: The Mini Movie Method." We discuss the idea of mini movies and how screenwriters can use mini movies to structure their screenplays. 

Nov 5, 2015

James Cullen Bressack has directed more films before his 25th birthday than most filmmakers make their whole life. At 23 he had already directed 11 features and he shows no signs of slowing down. His latest film Bethany comes out in early 2016. 

Nov 3, 2015

The Last Exorcism's Daniel Stamm

Whenever I list my favorite horror movies of the last 10 years, The Last Exorcism is always front and center. When it came out, the idea of a faux documentary wasn't new. Stamm himself had already made a fake documentary for his first film, A Necessary Death. Of course there are also the obvious landmark fake documentaries like Cannibal Holocaust, Man Bites Dog, The Blair Witch Project, Spinaltap and Paranormal Activity. But The Last Exorcism offered something unique. From the first second, the film engages the viewer with entertaining characters and an intriguing premise. I was extremely excited when Daniel agreed to come on the show and talk about his technique of improv with actors as well as his newest film 13 Sins

Daniel's 35 questions to ask before directing a scene.

  1. Scene number?
  2. Referring to draft (date)?
  3. Description of scene:
  4. Can the scene be broken down into several parts?
  5. Function / The scene is 'as if'... / "Make this scene important to me."?
  6. How is the scene reflecting the theme of the movie?
  7. What's fun about the scene?
  8. Hitchcockian question mark(s) within the scene?
  9. Central image audience is going to remember / thumbnail for DVD?
  10. What are the crucial facts the audience needs to understand in this scene? What's risky?
  11. What value is at stake in the scene, how is it charged at the beginning, how at the end?
  12. What are each character’s objectives in the scene?
  13. How can things be visualized / physicalized / externalized?
  14. Progressions in character arcs and relationships? From – to?
  15. Whose POV are we experiencing the scene from?
  16. Whose scene is it? Who or what are we told something about? (as opposed to POV)
  17. How are the location and production design a character in this scene?
  18. Is there a potential alternative location?
  19. How is the lighting a character in this scene? Practicals? Orbs of light?
  20. How is the sound a character in the scene?
  21. Possible activity for each character and what that tells us about them?
  22. How do you want the audience to feel at the end of the scene?
  23. Anything that needs to be researched?
  24. Experiences from your own life and/or references from other movies that could be helpful?
  25. What's the overall tone/energy/rhythm of the scene?
  26. Add a surprise or secret?
  27. Obligatory and optional character movement?
  28. What's the way to shoot this that reflects best what is felt?
  29. What are 2 possible other approaches to shooting this?
  30. What's the fastest way to shoot this?
  31. What would it be like to shoot segments of this in one shot?
  32. Add an interesting idea or composition / camera movement?
  33. What is a possible transition into the next scene?
  34. Any other notes?
  35. Any rewrites that would help?
Oct 26, 2015

I first came across Danny Draven's name as I was searching through Amazon's filmmaking section. I was specifically looking for books on horror filmmaking and one book in particular really stood out. The Filmmaker's Book of the Dead was not simply a memoir or how to book about filmmaking. It was a beautifully photographed and illustrated horror filmmaker's Bible. Filled with tons of practical information and interviews from top horror filmmakers, I really do consider this book to be one of the more valueable items in my filmmaking catalog. And, between you and me, I'm not much of a reader, so the pictures make me happy.

Wanting to know more, I got in touch with Danny and found him to be extraordinarily generous with his time. He was very happy to talk about filmmaking with me and I think it comes out in this episode. Anyone interested in becoming a horror filmmaker should really take the time to listen to this Episode as we cover a ton of information that will be helpful for all Indie Filmmakers. 

Oct 20, 2015

We continue our October Shockathon with filmmaker Eric England, screenwriter and director of the film Contracted. 

Oct 12, 2015

A few months ago, as I was scanning through Netflix, I cam across the poster for The Taking of Deborah Logan. The image had always stuck out to me, but for one reason or another I hadn't seen the film. I finally clicked the icon and started watching, and was really glad I did. Co-Writer and Director Adam Robitel's first feature film grabs you and pulls you in from the first scene. A documentary crew is starting production on a woman who they believe has alzheimers. As they study Mrs. Logan, they realize that the truth is much darker.

 

Here's more about Deborah Logan from wikipedia: 

The Taking of Deborah Logan is a 2014 American horror film and the feature film directorial debut of Adam Robitel, written by Robitel and co-writer Gavin Heffernan. The film stars Jill Larson, Anne Ramsay, andMichelle Ang.[1] Set in Virginia, it tells the story of a documentary crew making a film about Alzheimer's patients who uncover something sinister while documenting a woman who suffers from the disease.[2] The film was produced by Jeff Rice and Bryan Singer and was released on October 21, 2014.

 

Mia, Gavin, and Luis are a documentary team set to create a documentary about Deborah, an elderly woman suffering from Alzheimer's disease. Deborah is reluctant to be filmed, but agrees to the project after her daughter Sarah reminds her that they need the money to keep the house from being repossessed. While filming, Sarah and Deborah talk about earlier years when Deborah worked as a switchboard operator for her own answering service business to make ends meet.

Deborah is shown to exhibit increasingly bizarre actions that her personal physician, Dr. Nazir, states are normal for someone with an aggressive form of Alzheimer's. However, cameraman Luis begins to notice that several of Deborah's actions defy normal explanations and expresses concern that something supernatural is occurring. Things grow more tense after Luis and Gavin record audio of Deborah speaking in French while sitting at her old switchboard, talking about sacrifices and snakes. They also notice that the line for 337 continually rings and discover that the line belonged to local physician Henry Desjardins, who disappeared after a series of cannibalistic ritualized murders of four young girls. This information is too much for Gavin and he quits. Deborah's behavior becomes so extreme that she is hospitalized for her own safety.

Mia and the others discover that Desjardins was supposedly trying to re-create an ancient demonic ritual that would make him immortal but required the deaths of five girls that recently had their first period. They question whether Deborah is possessed by Desjardins; a similar case in Africa where a mother was possessed by her dead son was only freed when a witch doctor burned the son's corpse. At the hospital, Harris visits Deborah, who begs Harris to kill her. He tries to comply with her wishes, but is unsuccessful due to the entity within Deborah preventing it. Sarah, Mia, and Luis discover that Deborah had unsuccessfully tried to abduct Cara, a young cancer patient in whom she had previously shown interest. Sarah learns that years ago, Deborah had learned that Desjardins planned to use Sarah for his fifth victim and had murdered the doctor before he could accomplish this, and buried his body in the yard. The group eventually finds the body and tries to burn it, but is unsuccessful.

Deborah succeeds in abducting Cara and taking her to the location where Desjardins had killed all of his previous victims. Sarah and Mia find Deborah just as she's trying to eat Cara's head in a snake-like manner. They manage to burn Desjardins' corpse. The film then cuts to news footage of reporters stating that Deborah was deemed unfit to stand trial for the crimes she committed during her abduction of Cara. An additional news story shows that Cara has overcome her cancer and is celebrating her birthday. As the reporter begins to wrap up the story, Cara turns to the camera and gives a creepy smile, hinting that Desjardins' ritual was completed and that he is now in control of her body.

Oct 8, 2015

 

One day, while working at a video production company, Ryan Bellgardt and his friend decided it was time. Time to make a feature film. The started putting together a story and put together the funding and shot "Army of Frankensteins."

Shooting the film prooved difficult. While most no budget features typically take about 15 to 30 days to shoot, the shooting of their film took around 8 months. But, as they were filming Ryan and Co. started promoting their film on facebook. Quickly they had around 10,000 fans. Popular horror blogs started contacting them and before they knew it they were being contacted by sales agents.

Fast forward to a few weeks ago. Army of Frankensteins has a blue-ray in stores across the country. The first time filmmakers are now looking forward to producing their second film. In this episode of the Indie Film Academy Podcast, we will focus on the process of making AOF and why the film had the right combination to strike a distribution deal.

 

Sep 28, 2015

 

There is no better way to learn how the studio system works than talking to someone who used to be in the center of it all. Stephanie Palmer worked in the studio system for years starting as an intern on Titanic and quickly working her way up through the ranks. She worked for Jerry Brukheimer and was privy to many of the inside dealings that went on there over the years and later worked as a development execultive for MGM.

Stephanie left the studios to focus on her coaching program, goodinaroom.com. She teaches professionals from all walks of life how to pitch ideas in high stress situations. Stephanie knows her stuff because she's been in the room during some of the biggest pitches of all time.

Here's more about Stephanie from her website:

Stephanie Palmer: Former MGM Studio Executive

I’m Stephanie Palmer, former MGM Pictures executive and best-selling author of Good in a Room, featured by NBC, ABC, CBS, Los Angeles Times, NPR, Variety, and many more.

Why do so many media outlets feature my work? Because I’ve helped thousands of people to get meetings, pitch effectively, find agents, and sell their work.

  • Heard 3000+ pitches
  • Hired 100+ writers
  • Oscar/Emmy Award-Winning Clients
Sep 22, 2015

Joss Whedon, Howard Stern, Rob Cordrey and many other filmmakers swear by the method taught by David Allen. Published in 2001, his book Getting Things Done has not only changed the way we think about working towards goals, but also outlines a better way of living that involves living in the present rather than trying to hold everything in your head.

Getting Things Done® (GTD®) is the proven path for getting in control of your world, and maintaining perspective in your life. Much more than a set of tips for time management and organization, GTD is a total work-life management system that transforms overwhelm into an integrated system of stress-free productivity. David Allen, inventor of the GTD methodology, is widely recognized as the world’s leading expert on personal and organizational productivity.

Here's more about David from Wikipedia:

David Allen (born December 28, 1945) is a productivity consultant who is best known as the creator of the time management method known as "Getting Things Done".

He grew up in Shreveport, Louisiana where he acted and won a state championship in debate. He went to college at New College, now New College of Florida, in Sarasota, Florida, and did graduate work in American history at University of California, Berkeley.[2] After graduate school, he began using heroin and was briefly institutionalized.[3] His career path has included jobs as a magician, waiter, karate teacher, landscaper, vitamin distributor, glass-blowing lathe operator, travel agent, gas station manager, U-Haul dealer, moped salesman, restaurant cook,[1] personal growth trainer, manager of a lawn service company, and manager of a travel agency. He is an ordained minister with the Movement of Spiritual Inner Awareness.[4][5] He claims to have had 35 professions before age 35.[6] He began applying his perspective on productivity with businesses in the 1980s when he was awarded a contract to design a program for executives and managers at Lockheed.

He is the founder of the David Allen Company, which is focused on productivity, action management and executive coaching. His "Getting Things Done" method is part of his coaching efforts. He was also one of the founders of Actioneer, Inc., a company specializing in productivity tools for the Palm Pilot.

David Allen Company presenters, not Allen, regularly gives one-day public seminars on Allen's Getting Things Done methodology, which cost approximately $595.[citation needed] Allen himself gives public seminars only occasionally, which cost approximately $995[citation needed]. In 2007, such a seminar from Allen himself went for $595 per person or $20,000 per corporate training session.[1]

Allen has written four books, Getting Things Done: The Art of Stress-Free Productivity, which describes his productivity program, Ready for Anything: 52 Productivity Principles for Work and Life, a collection of newsletter articles he has written, Making It All Work: Winning at the Game of Work and Business of Life, a follow-up to his first book and in 2015 a completely rewritten version of his first book Getting Things Done: the Art of Stress-Free Productivity was published. He lived in Ojai, California with his fourth wife, Kathryn,[1] whom he describes as his "extraordinary partner in work and life" in the dedication of Getting Things Done. In May 2014 they moved to Amsterdam in the Netherlands, Europe.

Aug 28, 2015

 

From Coreymandell.net

Corey Mandell is an award-winning playwright and screenwriter who has written projects for Ridley Scott, Wolfgang Petersen, Harrison Ford, Meg Ryan, Julia Roberts, John Travolta, Warner Brothers, Universal, 20th Century Fox, Fox 2000, Fox Family, Working Title, Paramount, Live Planet, Beacon Films, Touchstone, Trilogy, Radiant, Kopelson Entertainment and Walt Disney Pictures.

 

 

His Professional Screenwriting and Television Writing Workshops offer an alternative to the same old tired rules and formulas found in most screenwriting classes, books and seminars. This innovative program is the only one to teach creative integration, script testing, compelling conflict, organic story design, strategic rewriting and story mapping. With these tools, writers are able to create the pitch-perfect authentic scripts required to break into, and thrive in, the current marketplace.

 

In the past three years, graduates have gone on to sell or option scripts to Warner Brothers, Paramount, Sony Pictures, Disney, Fox, MGM, Universal, Showtime, FX, USA Network, NBC, HBO, MTV and AMC. Others have been staffed on such shows as Community, The Fosters, BonesJustified, Young and Hungry, Playing House, The Mentalist, Marvel’s Agents of Shield, Up All Night, State of Affairs, Rosewood and Treme.

 

The Workshops teach the essential skill-sets required to write at a professional level, both for feature films and television. The classes are offered live in Los Angeles as well as online using video conferencing to allow participants to see and hear each other in real time. These highly popular classes draw students from across the US, Europe and Australia.

 

With the recent explosion of television pilots being bought, and a healthy rebound in the feature spec script market, there’s never been a better time to jump into the writing game. One script absolutely can change your life. But it’s got to be the right script. If you’re serious about developing the skills required to launch a career, these workshops can help take years off your learning curve and significantly increase your chances of success.

Aug 13, 2015

Hot off the premier of their two films, both for Black Fawn Films, Chad Archibald and Cody Calahan join us to talk about their process for making films and how they are able to crank out 4 features in one year.

Aug 6, 2015

Today we're talking with Roger Jackson of Kinonation. Here is a little information about Roger and Kinonation from kinonation.com

Roger Jackson

A digital media executive and film producer. He started Lexis-Nexis/Hong Kong, was VP Content for iFilm.com (sold to MTV for $49m) and launched documentary platform Explore.org. He's produced films in Darfur and the Middle-East, a reality series for VH1, a feature for FoxTV and co-created the Copy-Kids media brand.

Roger's emphasis at Kinonation is business development and overseeing day-to-day operations.

 

For filmmakers & production companies

Sell & stream your title on Hulu, iTunes, Amazon and many others

Whether multinational studio or indie filmmaker, Kinonation – distribute directly to Digital Service Providers (for example Video-On-Demand outlets) and other business partners, manage your catalogs, promote your titles and create digital revenue around the world.

For distributors, sales agents & aggregators

Manage & distribute your title catalog in the cloud

Upload your catalog, manage assets, rights and metadata, distribute to our long list of digital partners - and to your own. Fill all territory gaps. Focus solely on promoting your clients’ titles, building relationships with content owners & digital service providers (DSPs), without platform investment and technical concerns.

For Digital Service Providers (DSPs)

Reliable, cloud-based authoring & delivery of thousands of titles.

Our proven track record with Amazon, Hulu and many others gives you confidence that Kinonation’s hassle-free product deliveries can be seamlessly integrated with your digital video service. In receiving product through Kinonation, your ability to deal with suppliers can only get easier.

Jun 17, 2015

On this episode of the Indie Film Academy Podcast, I'm talking with Aviv Vana of Big League Film School and host of the extremely popular CineSummit. Aviv discusses how he first became interested in cinematography and some of the breakthroughs he has made that have really increased the quality of his work. We also discuss the founding of the Big Leagu Film School and he talks about the amazing lineup of guests at the 4th CineSummit.

Click HERE to Sign Up for the CineSummit. It's Free!

https://www.youtube.com/watch?v=a2l6F8roD_Y

More About Aviv:

Aviv Vana is the founder of Big League Film School, a filmmaking website that focuses on connecting our community with some of the most
accomplished artists working in the industry.

Since 2013 he has brought on filmmakers who have worked on projects ranging from AMC's "Mad Men," and films like Melancholia, Terminator, and Margin Call,
to top commercial work for brands like Nike, Apple, and BMW. He is the host of the CineSummits and blogs regularly on techniques that propel filmmakers to the ultimate goal of mastering their craft.

Aviv also interviews many seasoned veterans on the Big League Film school blog, where everyday filmmakers can get a peek into the inner working of those that are leading in the field.

Jun 9, 2015

John J. Lee Jr. , author of the book The Producer's Business Handbook: The Roadmap for the Balanced Film Producer drops in to discuss the business side of filmmaking. 

I also discuss my new Screenwriting Bootcamp that will be available soon. My goal is to create a program that allows screenwriters to get to their first draft in 30 days.

If you're interested, don't forget to go to www.indiefilmacademy.com/subscribe and sign up.

May 25, 2015

Brendan McCarthy is a legend in the world of comics and now the world of Mad Max. His series Freakwave was inpired by Mad Max 2, The Road Warrior and was later copied by the film Waterworld (without giving credit to McCarthy). In this episode we talk with McCarthy about his relationship with Mad Max and how he went from being a film of The Road Warrior to actually co writing the latest installment with writer/director George Miller.

Here is more about McCarthy from his website artbrendan.com

About Brendan McCarthy

Brendan McCarthy studied Painting and Film at Chelsea school of Art under the celebrated British Pop Artist Patrick Caulfield.

Brendan is one of the UK's most gifted graphic novelists. His ground-breaking comics of the early 80s (Strange Days, Skin, Rogan Gosh) as part of 'The British Invasion' paved the way for comics’ increasing popularity in Hollywood.

He was also one of the pioneers of computer animation, creating the visuals for the 90s computer animated TV series ReBoot, the first long-form digital narrative that preceded Pixar and Dreamworks' later successes. He has spent more than 20 years working in Hollywood, and is the co-writer and a designer on Mad Max Fury Road.

More recently, Brendan has created new graphic novels including Spider-Man Fever (for Marvel), Solo (for DC Comics) and Swimini Purpose, The Zaucer of Zilk and Dream Gang for independent US publishers. A best-selling retrospective collection of his classic comic book work was released last year, The Best of Milligan & McCarthy.

 

 

May 13, 2015

Want to raise money for your film? In his book Bankroll, Tom Malloy goes into detail about he has been able to fund his own projects. Today we're talking with Tom about how filmmakers can raise the money to make their films as well as the things to avoid.

 

Here's more about Tom from Wikipedia.

 

Malloy wrote, produced and acted in The Alphabet Killer[4] , a psychological thriller directed by Rob Schmidt and starring Eliza Dushku, Cary Elwes, Timothy Hutton and Michael Ironside; and The Attic,[5] a thriller directed by Mary Lambert and starring John Savage, Jason Lewis, and Elisabeth Moss.He has written, produced and starred in the 2009 film Love N' Dancing,[6] a dance film/romantic comedy directed by Rob Iscove that stars Amy Smart, Billy Zane, Betty White and Rachel Dratch.[7][8][9]

 

Malloy has acted in other films, including Gravesend, and on television shows including Law & Order, Third Watch and Kidnapped.

 

He wrote the book Bankroll: A New Approach To Financing Feature Films in 2009, which garnered an Amazon Average Customer Review of four-and-a-half stars. A 2nd Edition of the book came out in 2012.[10]

 

In 2013, Malloy partnered with LA based independent film producer Jason Brubaker to create The Film Finance Guide.

 

May 6, 2015

 

Today I'm talking with producers Briand Udovich and Justin Duprie of Rough and Tumble Films. We discuss the ways independent filmmakers working in the sub 1 million dollar range can compete with other larger budget films. Starting with his film All the Boys Love Mandy Lane , Udovich has had a track record of delivering high productoin value and star power at a fraction of the cost of independent films in the same league. His latest filme, Bad Turn Worse, stars Mackenzie Davis, Jeremy Allen White, and Mark Pelligrino.

 

From IMDB:

Brian Udovich has a Masters degree from the AFI (American Film Institute) and bachelors from Illinois Wesleyan University.

Awarded a grant from the Alfred P. Sloan Foundation for his AFI Thesis The Monster And The Peanut. Awarded the Robert M. Mongomery Outstanding Young Alumnus award by Illinois Wesleyan University.

A 4-year varsity letterman in football at Wesleyan as a defensive lineman. Attended famed high school football powerhouse Joliet Catholic Academy (Mike Alstott, Dan "Rudy" Ruettiger).

Former Senior Business Consultant for the French firm Cap Gemini.

Currently resides in Los Angeles.

 

 

 

Apr 28, 2015

My film is done, now what? Many filmmakers are so concerned with the making of their film they forget to come up with a distribution launch strategy. If you want to learn what it takes to have success in the world of distribution, this is the podcast for you my friend. Linda Nelson of Indie Rights walks us through her strategies for the successful launch of a film.

Linda's strategy follows a simple timeline. You start with Film Festivals to get the word out. Then a short theatrical release in order to get reviews from key critics. Launch on itunes where you can take advantage of being new and noteworthy. And distribution onto platforms that pay per movie. Later, after things slow down, you can look into platforms like Netflix.

 

Here is the coupon code I mentioned in the show.

 

Learn Adobe Photoshop in 1 Hour (No Experience Necesary)

https://www.udemy.com/learn-photoshop-in-one-hour-no-experience-needed/?couponCode=ifaps2

 

Apr 22, 2015

Screenwriters who would like to get their screenplays in front of producers, this episode is for you.  Today I talk with Intip founder Jerrol Lebaron about his service which links producers with scripts. This is a wonderful link for filmmakers to really pay attention to. Inktip, along with The Blacklist, are setting a trend that is likely to grow in the coming years. Producers desperate to find good screenplays and Inktip makes the process easier. A number of producers I have spoken with have also mentioned using inktip to mine the latest undiscovered screenwriters.

For more information on Inktip, go to Inktip.com

 

Don't forget to sign up for our newsletter at www.indiefilmacademy.com/subscribe

Apr 13, 2015

Good Will Hunting Sound Designer Kelley Baker discusses sound for Independent Filmmakers. Baker's credits include Gus Van Zant's My Own Private Idaho, Drugstore Cowboy, Good Will Hunting, Finding Forrester, and Todd Hayne's film Far From Heaven.

To learn more about Kelley or buy his books, go to angryfilmmaker.com

Kelley’s new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is available.  Check out his website www.angryfilmmaker.com for more information.

Kelley Baker has lived “The New Model of Independent Filmmaking” for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.

Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS.

Kelley has written and directed three full‑length features, eight short films and a few documentaries.  Kelley films have aired on PBS, The Learning Channel, and Canadian and Australian television and have been shown at Film Festivals like London, Sydney, Annecy and Edinburgh.

KICKING BIRD is the story of Martin “Bird” Johnson, a 17 year old white trash high school kid who runs.  With his Mother in jail, his father gone, one brother in a work camp and his bitter grandfather beating him, there is nothing else to do but run!   One day the manipulative high school cross country Coach sees Martin out run his entire team and figures that Martin may be his ticket to a college coaching position.  On a budget of $6000 and an 18 day shooting schedule this movie was shot in digital video.

Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  THE GAS CAFE was shot in digital video in 8 nights.  It was funded entirely on Unemployment checks.  This movie has been called “an old Twilight Zone episode, that has collided with Samuel Beckett’s Waiting for Godot”.

BIRDDOG tells the story of Harv Beckman, a used car salesman in a trashy part of town who accidentally comes in to possession of a rare 1948 Kaiser automobile, which leads to some disturbing revelations about the facts behind the 1948 Vanport, Oregon flood which destroyed an entire city.  Portland, Oregon is the backdrop of this film that explores racism, greed, and class in a very corrupt city.  Throw in the local Kiwanis Club and you have a very odd unpredictable film.  One critic referred to Kelley’s style as  “Bruce Springsteen meets David Lynch”.  This film opened the 2000 Sao Paulo Film Festival in Brazil.

Kelley self distributes his short and feature films.

Kelley is producing and directing DANGEROUS: KAY BOYLE, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , The American Dream: A Work in Progress.

Kelley attended the University of Southern California.  He received a BA (1980) and an MFA (1982) in Film Production, and did post graduate work at the American Film Institute (1989).

Kelley has received a Western States Media Arts Fellowship, and grants from the SOROS Fund, Pioneer Fund for Emerging Documentary Filmmakers, The Collins Foundation, Oregon Arts Commission, The Jackson Foundation, Rose E. Tucker Charitable Trust, and The Maurie Clark Foundation. He has done 2 documentaries for the National Endowment for the Arts, and The Juvenile Justice Office of the Department of Justice.

The Stirling Art Centre at Macrobert University (Stirling, Scotland), had a retrospective of Kelley’s work in 2006.  The Pacific Film Archives and The Northwest Film Center have hosted a retrospective of Kelley’s short films.

- See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf
Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS. - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.HG5x09Ud.dpuf

Bio

Kelley’s new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is available.  Check out his website www.angryfilmmaker.com for more information.

Kelley Baker has lived “The New Model of Independent Filmmaking” for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.

Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS.

Kelley has written and directed three full‑length features, eight short films and a few documentaries.  Kelley films have aired on PBS, The Learning Channel, and Canadian and Australian television and have been shown at Film Festivals like London, Sydney, Annecy and Edinburgh.

KICKING BIRD is the story of Martin “Bird” Johnson, a 17 year old white trash high school kid who runs.  With his Mother in jail, his father gone, one brother in a work camp and his bitter grandfather beating him, there is nothing else to do but run!   One day the manipulative high school cross country Coach sees Martin out run his entire team and figures that Martin may be his ticket to a college coaching position.  On a budget of $6000 and an 18 day shooting schedule this movie was shot in digital video.

Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  THE GAS CAFE was shot in digital video in 8 nights.  It was funded entirely on Unemployment checks.  This movie has been called “an old Twilight Zone episode, that has collided with Samuel Beckett’s Waiting for Godot”.

BIRDDOG tells the story of Harv Beckman, a used car salesman in a trashy part of town who accidentally comes in to possession of a rare 1948 Kaiser automobile, which leads to some disturbing revelations about the facts behind the 1948 Vanport, Oregon flood which destroyed an entire city.  Portland, Oregon is the backdrop of this film that explores racism, greed, and class in a very corrupt city.  Throw in the local Kiwanis Club and you have a very odd unpredictable film.  One critic referred to Kelley’s style as  “Bruce Springsteen meets David Lynch”.  This film opened the 2000 Sao Paulo Film Festival in Brazil.

Kelley self distributes his short and feature films.

Kelley is producing and directing DANGEROUS: KAY BOYLE, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , The American Dream: A Work in Progress.

Kelley attended the University of Southern California.  He received a BA (1980) and an MFA (1982) in Film Production, and did post graduate work at the American Film Institute (1989).

Kelley has received a Western States Media Arts Fellowship, and grants from the SOROS Fund, Pioneer Fund for Emerging Documentary Filmmakers, The Collins Foundation, Oregon Arts Commission, The Jackson Foundation, Rose E. Tucker Charitable Trust, and The Maurie Clark Foundation. He has done 2 documentaries for the National Endowment for the Arts, and The Juvenile Justice Office of the Department of Justice.

The Stirling Art Centre at Macrobert University (Stirling, Scotland), had a retrospective of Kelley’s work in 2006.  The Pacific Film Archives and The Northwest Film Center have hosted a retrospective of Kelley’s short films.

- See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf

Kelley’s new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is available.  Check out his website www.angryfilmmaker.com for more information.

Kelley Baker has lived “The New Model of Independent Filmmaking” for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.

Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS.

Kelley has written and directed three full‑length features, eight short films and a few documentaries.  Kelley films have aired on PBS, The Learning Channel, and Canadian and Australian television and have been shown at Film Festivals like London, Sydney, Annecy and Edinburgh.

KICKING BIRD is the story of Martin “Bird” Johnson, a 17 year old white trash high school kid who runs.  With his Mother in jail, his father gone, one brother in a work camp and his bitter grandfather beating him, there is nothing else to do but run!   One day the manipulative high school cross country Coach sees Martin out run his entire team and figures that Martin may be his ticket to a college coaching position.  On a budget of $6000 and an 18 day shooting schedule this movie was shot in digital video.

Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  THE GAS CAFE was shot in digital video in 8 nights.  It was funded entirely on Unemployment checks.  This movie has been called “an old Twilight Zone episode, that has collided with Samuel Beckett’s Waiting for Godot”.

BIRDDOG tells the story of Harv Beckman, a used car salesman in a trashy part of town who accidentally comes in to possession of a rare 1948 Kaiser automobile, which leads to some disturbing revelations about the facts behind the 1948 Vanport, Oregon flood which destroyed an entire city.  Portland, Oregon is the backdrop of this film that explores racism, greed, and class in a very corrupt city.  Throw in the local Kiwanis Club and you have a very odd unpredictable film.  One critic referred to Kelley’s style as  “Bruce Springsteen meets David Lynch”.  This film opened the 2000 Sao Paulo Film Festival in Brazil.

Kelley self distributes his short and feature films.

Kelley is producing and directing DANGEROUS: KAY BOYLE, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , The American Dream: A Work in Progress.

Kelley attended the University of Southern California.  He received a BA (1980) and an MFA (1982) in Film Production, and did post graduate work at the American Film Institute (1989).

Kelley has received a Western States Media Arts Fellowship, and grants from the SOROS Fund, Pioneer Fund for Emerging Documentary Filmmakers, The Collins Foundation, Oregon Arts Commission, The Jackson Foundation, Rose E. Tucker Charitable Trust, and The Maurie Clark Foundation. He has done 2 documentaries for the National Endowment for the Arts, and The Juvenile Justice Office of the Department of Justice.

The Stirling Art Centre at Macrobert University (Stirling, Scotland), had a retrospective of Kelley’s work in 2006.  The Pacific Film Archives and The Northwest Film Center have hosted a retrospective of Kelley’s short films.

- See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf

Bio

Kelley’s new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is available.  Check out his website www.angryfilmmaker.com for more information.

Kelley Baker has lived “The New Model of Independent Filmmaking” for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.

Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS.

Kelley has written and directed three full‑length features, eight short films and a few documentaries.  Kelley films have aired on PBS, The Learning Channel, and Canadian and Australian television and have been shown at Film Festivals like London, Sydney, Annecy and Edinburgh.

KICKING BIRD is the story of Martin “Bird” Johnson, a 17 year old white trash high school kid who runs.  With his Mother in jail, his father gone, one brother in a work camp and his bitter grandfather beating him, there is nothing else to do but run!   One day the manipulative high school cross country Coach sees Martin out run his entire team and figures that Martin may be his ticket to a college coaching position.  On a budget of $6000 and an 18 day shooting schedule this movie was shot in digital video.

Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  THE GAS CAFE was shot in digital video in 8 nights.  It was funded entirely on Unemployment checks.  This movie has been called “an old Twilight Zone episode, that has collided with Samuel Beckett’s Waiting for Godot”.

BIRDDOG tells the story of Harv Beckman, a used car salesman in a trashy part of town who accidentally comes in to possession of a rare 1948 Kaiser automobile, which leads to some disturbing revelations about the facts behind the 1948 Vanport, Oregon flood which destroyed an entire city.  Portland, Oregon is the backdrop of this film that explores racism, greed, and class in a very corrupt city.  Throw in the local Kiwanis Club and you have a very odd unpredictable film.  One critic referred to Kelley’s style as  “Bruce Springsteen meets David Lynch”.  This film opened the 2000 Sao Paulo Film Festival in Brazil.

Kelley self distributes his short and feature films.

Kelley is producing and directing DANGEROUS: KAY BOYLE, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , The American Dream: A Work in Progress.

Kelley attended the University of Southern California.  He received a BA (1980) and an MFA (1982) in Film Production, and did post graduate work at the American Film Institute (1989).

Kelley has received a Western States Media Arts Fellowship, and grants from the SOROS Fund, Pioneer Fund for Emerging Documentary Filmmakers, The Collins Foundation, Oregon Arts Commission, The Jackson Foundation, Rose E. Tucker Charitable Trust, and The Maurie Clark Foundation. He has done 2 documentaries for the National Endowment for the Arts, and The Juvenile Justice Office of the Department of Justice.

The Stirling Art Centre at Macrobert University (Stirling, Scotland), had a retrospective of Kelley’s work in 2006.  The Pacific Film Archives and The Northwest Film Center have hosted a retrospective of Kelley’s short films.

- See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf

Bio

Kelley’s new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is available.  Check out his website www.angryfilmmaker.com for more information.

Kelley Baker has lived “The New Model of Independent Filmmaking” for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.

Kelley Baker is well known for working with other people.  He was the sound designer on six of Gus Van Sant’s feature films including, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, and FINDING FORRESTER.  He designed the sound on Todd Haynes feature film, FAR FROM HEAVEN, with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s The Adventure’s of Mark Twain, and Meet The Raisins for CBS.

Kelley has written and directed three full‑length features, eight short films and a few documentaries.  Kelley films have aired on PBS, The Learning Channel, and Canadian and Australian television and have been shown at Film Festivals like London, Sydney, Annecy and Edinburgh.

KICKING BIRD is the story of Martin “Bird” Johnson, a 17 year old white trash high school kid who runs.  With his Mother in jail, his father gone, one brother in a work camp and his bitter grandfather beating him, there is nothing else to do but run!   One day the manipulative high school cross country Coach sees Martin out run his entire team and figures that Martin may be his ticket to a college coaching position.  On a budget of $6000 and an 18 day shooting schedule this movie was shot in digital video.

Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  THE GAS CAFE was shot in digital video in 8 nights.  It was funded entirely on Unemployment checks.  This movie has been called “an old Twilight Zone episode, that has collided with Samuel Beckett’s Waiting for Godot”.

BIRDDOG tells the story of Harv Beckman, a used car salesman in a trashy part of town who accidentally comes in to possession of a rare 1948 Kaiser automobile, which leads to some disturbing revelations about the facts behind the 1948 Vanport, Oregon flood which destroyed an entire city.  Portland, Oregon is the backdrop of this film that explores racism, greed, and class in a very corrupt city.  Throw in the local Kiwanis Club and you have a very odd unpredictable film.  One critic referred to Kelley’s style as  “Bruce Springsteen meets David Lynch”.  This film opened the 2000 Sao Paulo Film Festival in Brazil.

Kelley self distributes his short and feature films.

Kelley is producing and directing DANGEROUS: KAY BOYLE, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , The American Dream: A Work in Progress.

Kelley attended the University of Southern California.  He received a BA (1980) and an MFA (1982) in Film Production, and did post graduate work at the American Film Institute (1989).

Kelley has received a Western States Media Arts Fellowship, and grants from the SOROS Fund, Pioneer Fund for Emerging Documentary Filmmakers, The Collins Foundation, Oregon Arts Commission, The Jackson Foundation, Rose E. Tucker Charitable Trust, and The Maurie Clark Foundation. He has done 2 documentaries for the National Endowment for the Arts, and The Juvenile Justice Office of the Department of Justice.

The Stirling Art Centre at Macrobert University (Stirling, Scotland), had a retrospective of Kelley’s work in 2006.  The Pacific Film Archives and The Northwest Film Center have hosted a retrospective of Kelley’s short films.

- See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf
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