PodcastPUP
The Search Portal For PodCast

PodcastPUP Forum
Try The New PUP Search "Powered By Google"

  Submit PodCast Site       Recently Submitted PodCast Sites PodcastPUP  

Indie Film Academy  RSS Feed  Subscribe Via iTunes  Zune Subscribe
0 star rating Average rating based on 0 votes  -  Rate
Link To This Page: http://www.podcastpup.com/pod.asp?ID=13897
Voting Link: http://www.podcastpup.com/pod_vote.asp?ID=13897
Category: TV/Film
Receive Email When This Podcast Updates
Email:
PupuPlayer FREE
Click Button To Listen To All Episode's
Question Regarding This Entry?


My Yahoo!  Google Reader  My MSN  podnova  NewsGator  Odeo


Description:

Learn how to fund, write, shoot and sell your first independent film.

Sponsored Links




Amazon.com

Aloha Podcast Network

Hawaii Podcast
Podcast Episode's:
IFA #59: Writing Screenplays that Sell with Michael Hauge
<p>Get a free filmmaking audiobook: <a href= "http://www.ifafreebooks.com">www.ifafreebooks.com</a></p> <p>Sponsored by Audible</p>
Listen: podcast - audio/mpeg

IFA #58: Making The Cult Apocalyptic Indie Film Wyrmwood with Kiah Roache-Turner
<p>On today's episode we're talking with Wyrmwood director Kiah Roache-Turner.</p>
Listen: podcast - audio/mpeg

IFA #57: Making 1.5 Million Dollars Through Self Distribution with Christopher Rufo of Filmmaker.mba
<p>In today's episode we talk to Documentary filmmaker Christopher Rufo about how their documentary went on to make 1.5 million through mostly self distribution. We will also discuss his program filmmaker.mba which teaches the techniques they used to connect with their niche market. </p>
Listen: podcast - audio/mpeg

IFA 56: Getting Into SXSW & Other Festivals with Shant Hamassian
<p>Today I'm talking with Shant Hamassian about his short film "Night Of The Slasher" and how it was accepted by SXSW  and many other festivals.</p>
Listen: podcast - audio/mpeg

IFA #55: Producing Your Indie Feature with Jenna Edwards

Listen: podcast - audio/mpeg

IFA #54: Alex Ferrari on Crowdfunding, This Is Meg, and Indie Filmmaking
<p>Alex Ferrari of Indie Film Hustle drops by to talk about his latest project, This Is Meg. </p>
Listen: podcast - audio/mpeg

IFA #53: How Amazon Prime has changed the Indie Film Model & The Latest On Film Distribution with Linda Nelson
<p> </p> <div dir="ltr"> <div>Linda Nelson from Indie Rights discusses what's hot in digital distribution and how Amazon Prime fits into your overall strategy.</div> <div> </div> <div> <p><strong>Indie Rights, Inc.</strong> is an American distributor of <a title="Independent film" href= "https://en.wikipedia.org/wiki/Independent_film">independent films</a>, based in <a class="mw-redirect" title= "Los Angeles, California" href= "https://en.wikipedia.org/wiki/Los_Angeles,_California">Los Angeles, California</a>. Indie Rights is a subsidiary of <strong>Nelson Madison Films</strong> and was incorporated in 2007 to act as distributor for other independent filmmakers.<sup id= "cite_ref-variety_1-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-variety-1">[1]</a></sup> The corporation began as a private <a title="Myspace" href= "https://en.wikipedia.org/wiki/Myspace">MySpace</a> group where the makers of independent films could get information about the changing face of film distribution; founders Linda Nelson and Michael Madison created Indie Rights so that distribution contracts could be signed by a legal entity. The corporation distributes films largely through <a title="Video on demand" href= "https://en.wikipedia.org/wiki/Video_on_demand">video on demand</a> services, though more recently it has overseen such<a title= "Movie theater" href= "https://en.wikipedia.org/wiki/Movie_theater">theatrical</a> releases as <em><a class="mw-redirect" title="We Are Kings (film)" href="https://en.wikipedia.org/wiki/We_Are_Kings_(film)">We Are Kings</a></em> and <em><a title="Fray (film)" href= "https://en.wikipedia.org/wiki/Fray_(film)">Fray</a></em>, both in 2014.</p> <p>Nelson Madison Films has produced three features: <em>Bigger Than Live</em> (2002), <em>Shifted</em> (2006) and <em>Delivered</em> (2011).<sup id="cite_ref-Thompson_2-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-Thompson-2">[2]</a></sup><sup id="cite_ref-secrets_3-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-secrets-3">[3]</a></sup></p> <p> </p> <h3><span id="Background" class= "mw-headline">Background</span><span class= "mw-editsection"><span class= "mw-editsection-bracket">[</span><a title= "Edit section: Background" href= "https://en.wikipedia.org/w/index.php?title=Indie_Rights&action=edit&section=2">edit</a><span class="mw-editsection-bracket">]</span></span></h3> <p>Linda Nelson is a former investment banker and computer systems analyst based in Los Angeles since 1980;<sup id= "cite_ref-Thompson_2-1" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-Thompson-2">[2]</a></sup> Michael Madison moved there in 1999 from <a title= "Duncanville, Texas" href= "https://en.wikipedia.org/wiki/Duncanville,_Texas">Duncanville, Texas</a>, to work as an actor and film producer.<sup id= "cite_ref-DMN_4-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-DMN-4">[4]</a></sup> They first partnered in 2000 to create and distribute the <a title= "NSYNC" href="https://en.wikipedia.org/wiki/NSYNC">NSYNC</a> concert film <em>Bigger Than Live</em> for <a title="IMAX" href= "https://en.wikipedia.org/wiki/IMAX">IMAX</a> theaters. In 2003, they formed their own company<sup id="cite_ref-variety_1-1" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-variety-1">[1]</a></sup> with the goal of making independent features using local talent. Madison acts and handles writing, producing and directing duties; Nelson writes and produces<sup id="cite_ref-DMN_4-1" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-DMN-4">[4]</a></sup> while developing distribution plans for other filmmakers.</p> <h3><span id="Lawsuit_and_recovery" class="mw-headline">Lawsuit and recovery</span><span class="mw-editsection"><span class= "mw-editsection-bracket">[</span><a title= "Edit section: Lawsuit and recovery" href= "https://en.wikipedia.org/w/index.php?title=Indie_Rights&action=edit&section=3">edit</a><span class="mw-editsection-bracket">]</span></span></h3> <p><em>Bigger Than Live</em> broke even during its theatrical run, but Nelson and Madison "failed to tie up the necessary rights in our initial contract" and lost <a title="Home video" href= "https://en.wikipedia.org/wiki/Home_video">home video</a> distribution in a lawsuit that shut down their production office. They moved into "more humble digs" and tried again with the crime thriller <em>Shifted</em>, learning the ins and outs of distribution while attending <a title="Film festival" href= "https://en.wikipedia.org/wiki/Film_festival">film festivals</a>.<sup id="cite_ref-secrets_3-1" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-secrets-3">[3]</a></sup> Nelson soon discovered that the chances of getting a film seen at a major festival such as <a title="Sundance Film Festival" href= "https://en.wikipedia.org/wiki/Sundance_Film_Festival">Sundance</a> or <a title="Cannes Film Festival" href= "https://en.wikipedia.org/wiki/Cannes_Film_Festival">Cannes</a> without having connections in the industry "are slim to nothing."<sup id="cite_ref-FOOTNOTEParks2007p._89_5-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTEParks2007p._89-5">[5]</a></sup> The company began a private group on MySpace called Indie Co-op, where filmmakers could get details on self-distribution, including attendance at smaller festivals where films are likely to benefit from local coverage and reviews.<sup id= "cite_ref-FOOTNOTEParks2007p._87.E2.80.9388_6-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTEParks2007p._87.E2.80.9388-6">[6]</a></sup></p> <p>Nelson believed that film distributors didn't have any systems for accountability in place<sup id="cite_ref-Thompson_2-2" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-Thompson-2">[2]</a></sup> and that they tended to buy the rights to entire catalogs rather than individual films,<sup id="cite_ref-FOOTNOTEParks2007p._87_7-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTEParks2007p._87-7">[7]</a></sup> so she and Madison decided to do it themselves. Since they needed a legal entity to make distribution contracts valid,<sup id= "cite_ref-secrets_3-2" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-secrets-3">[3]</a></sup> they incorporated Indie Rights in 2007.<sup id="cite_ref-dandb_8-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-dandb-8">[8]</a></sup> Nelson said doing both film production and distribution gives them a greater understanding of the challenges that filmmakers face than would a company that focuses only on distribution.<sup id= "cite_ref-FOOTNOTE.27.27Minding_VOD_Windows.27.273:00.E2.80.933:05_9-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTE.27.27Minding_VOD_Windows.27.273:00.E2.80.933:05-9">[9]</a></sup></p> <h3><span id="Film_distribution" class="mw-headline">Film distribution</span><span class="mw-editsection"><span class= "mw-editsection-bracket">[</span><a title= "Edit section: Film distribution" href= "https://en.wikipedia.org/w/index.php?title=Indie_Rights&action=edit&section=4">edit</a><span class="mw-editsection-bracket">]</span></span></h3> <p>By 2013, Indie Rights had built up enough name recognition that video on demand providers began approaching the corporation for information on available independent films rather than waiting to be contacted.<sup id= "cite_ref-FOOTNOTE.27.27New_VOD_Platforms.27.274:34.E2.80.934:52_10-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTE.27.27New_VOD_Platforms.27.274:34.E2.80.934:52-10">[10]</a></sup> Those features are steered mostly to such platforms as <a class= "mw-redirect" title="Amazon Unbox" href= "https://en.wikipedia.org/wiki/Amazon_Unbox">Amazon Unbox</a>, <a title="Google Play" href= "https://en.wikipedia.org/wiki/Google_Play">Google Play</a>, <a title="Hulu" href="https://en.wikipedia.org/wiki/Hulu">Hulu</a> and <a title="ITunes" href= "https://en.wikipedia.org/wiki/ITunes">iTunes</a>,<sup id= "cite_ref-VOD_11-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-VOD-11">[11]</a></sup> where the filmmakers can earn up to 50 percent of the revenue.<sup id="cite_ref-levy_12-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-levy-12">[12]</a></sup> Innovations include searchable film rentals on <a title="YouTube" href="https://en.wikipedia.org/wiki/YouTube">YouTube</a> and through <a title="Video game console" href= "https://en.wikipedia.org/wiki/Video_game_console">video game consoles</a>, allowing filmmakers new sources of income—in 2011, Indie Rights had "little films making five grand a month on PlayStation".<sup id="cite_ref-wrap_13-0" class= "reference"><a href="https://en.wikipedia.org/wiki/Indie_Rights#cite_note-wrap-13">[13]</a></sup> In 2014, the company was the first independent studio included on M–GO, a subscription service supported by "all six of the major studios" that offers films for home viewing that are still playing in theaters.<sup id= "cite_ref-FOOTNOTE.27.27Minding_VOD_Windows.27.2727:26.E2.80.9328:43_14-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-FOOTNOTE.27.27Minding_VOD_Windows.27.2727:26.E2.80.9328:43-14">[14]</a></sup></p> <p>Filmmaker and <a title="Baylor University" href= "https://en.wikipedia.org/wiki/Baylor_University">Baylor University</a> professor Christopher Hansen turned to Indie Rights in 2015 when his film <em>Where We Started</em> failed to make the major festival circuit. After a short run at the Arena Cinema Hollywood led to favorable reviews, the film was released via digital platforms.<sup id="cite_ref-WWS_15-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-WWS-15">[15]</a></sup> Theatrical releases by Indie Rights also include <em><a title= "9 Full Moons" href="https://en.wikipedia.org/wiki/9_Full_Moons">9 Full Moons</a></em> (2013), featuring <a title="Amy Seimetz" href= "https://en.wikipedia.org/wiki/Amy_Seimetz">Amy Seimetz</a> and <a title="Harry Dean Stanton" href= "https://en.wikipedia.org/wiki/Harry_Dean_Stanton">Harry Dean Stanton</a>;<sup id="cite_ref-9FM_16-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-9FM-16">[16]</a></sup> <em>We Are Kings</em>, the feature-film debut of <em><a title= "America's Got Talent (season 1)" href= "https://en.wikipedia.org/wiki/America%27s_Got_Talent_(season_1)">America's Got Talent</a></em> winner <a title="Bianca Ryan" href= "https://en.wikipedia.org/wiki/Bianca_Ryan">Bianca Ryan</a>;<sup id="cite_ref-WAK_17-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-WAK-17">[17]</a></sup> and <em>Druid Peak</em>, starring <a title="Spencer Treat Clark" href="https://en.wikipedia.org/wiki/Spencer_Treat_Clark">Spencer Treat Clark</a> and winner of Best Feature Film at the 2014 <a class="mw-redirect" title="Omaha Film Festival" href= "https://en.wikipedia.org/wiki/Omaha_Film_Festival">Omaha Film Festival</a>.<sup id="cite_ref-OFF_18-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-OFF-18">[18]</a></sup></p> <p>Indie Rights became part of the <a title="IODA" href= "https://en.wikipedia.org/wiki/IODA">Independent Online Distribution Alliance</a> in 2008.<sup id="cite_ref-IODA_19-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-IODA-19">[19]</a></sup> Nelson and Madison also conduct seminars for independent filmmakers looking to build an audience through <a title= "Social networking service" href= "https://en.wikipedia.org/wiki/Social_networking_service">social networking</a>.<sup id="cite_ref-wshop_20-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-wshop-20">[20]</a></sup> DocumentaryTelevision.com said Nelson "really gets what it takes to win with <a title="Facebook" href= "https://en.wikipedia.org/wiki/Facebook">Facebook</a>."<sup id= "cite_ref-DTcom_21-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-DTcom-21">[21]</a></sup></p> <h3><span id="Filmmaking" class= "mw-headline">Filmmaking</span><span class= "mw-editsection"><span class= "mw-editsection-bracket">[</span><a title= "Edit section: Filmmaking" href= "https://en.wikipedia.org/w/index.php?title=Indie_Rights&action=edit&section=5">edit</a><span class="mw-editsection-bracket">]</span></span></h3> <p>Starting in 2010, the budgetary constraints of independent film-making required that Nelson Madison Films go <a title= "Videotape" href= "https://en.wikipedia.org/wiki/Videotape">tapeless</a>. <em>Delivered</em>, their second "crime thriller", was their first to utilize <a title="Red Digital Cinema Camera Company" href= "https://en.wikipedia.org/wiki/Red_Digital_Cinema_Camera_Company">Red Digital Cinema</a> cameras and <a title="Adobe Systems" href= "https://en.wikipedia.org/wiki/Adobe_Systems">Adobe</a> CS5 production software.<sup id="cite_ref-HDVP_22-0" class= "reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-HDVP-22">[22]</a></sup> Madison directed, and played the lead role in an "uneven performance" where "at times he's spot-on".<sup id= "cite_ref-delivered_23-0" class="reference"><a href= "https://en.wikipedia.org/wiki/Indie_Rights#cite_note-delivered-23">[23]</a></sup></p> </div> </div> <p> </p>
Listen: podcast - audio/mpeg

IFA #52: A Chinese Billionaire's Legendary Film Fiasco and Indie Film with Jonathan Lawrence

Listen: podcast - audio/mpeg

IFA #51: Filth Director Jon S. Baird | Filmmaking | Film School
<p><strong>Jon S. Baird</strong>  is best known for his 2013 film <em><a title="Filth (film)" href= "https://en.wikipedia.org/wiki/Filth_(film)">Filth</a></em>.<sup id="cite_ref-2" class="reference"><a href= "https://en.wikipedia.org/wiki/Jon_S._Baird#cite_note-2">[2]</a></sup></p> <p>Baird has also directed for television, e.g., <em><a title= "Vinyl (TV series)" href= "https://en.wikipedia.org/wiki/Vinyl_(TV_series)">Vinyl</a></em> (on <a title="HBO" href= "https://en.wikipedia.org/wiki/HBO">HBO</a>), season 1, episode 8, "E.A.B."</p>
Listen: podcast - audio/mpeg

IFA #50: DSLRGuide's Simon Cade
<p>Simon Cade is the founder or DSLRGuide,  a popular blog and YouTube Channel. To learn more about Simon you can visit his webiste at <a href= "http://dslrguide.tv/">http://dslrguide.tv/</a> or check out all of the great videos on his <a href= "https://www.youtube.com/channel/UCzQ1L-wzA_1qmLf49ey9iTQ">YouTube Page</a>. At the time of writing this Simon has 221,946 subscribers.</p> <p>On this episode we talk all about YouTube as well as how to start making short films. </p> <p> </p> <p>You can also follow Simon on <a href= "https://twitter.com/DSLRguidance">Twitter</a>. <a href= "https://twitter.com/DSLRguidance">@DSLRguidance</a></p>
Listen: podcast - audio/mpeg

IFA #49: Lights Out Director David F. Sandberg | Filmmaking | Film School
<p>In 2013, David F. Sandberg made a little horror short film "Lights Out" for an online Horror Short competition. The film not only won, but became a viral sensation. Not too long after that, Sandberg started getting calls from Los Angeles from agents and managers.</p> <p>Fast forward to Sandberg sitting in an office with James Wan (The Conjuring, Saw) talking about making "Lights Out" into a feature. </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #48: Mythology in Storytelling with Pamela Jaye Smith
<p>On today's episode we're going beyond the Hero's Journey to discuss mythic themes in storytelling. My guest, Pamela Jay Smith, is an expert on the topic of mythology and understanding archipaths.</p>
Listen: podcast - audio/mpeg

IFA #47: Pat Flynn Creating Passive Income with your Film
<p>On today's show we're talking with Pat Flynn of <a href= "http://www.smartpassiveincome.com" target= "_blank">SmartPassiveIncome.com</a> and the Ask Pat Podcast. I was extremely excited to introduce my audience to Pat because he has been so instrumental in the founding of the IFA as well as helping me to understand the world of online marketing. One of the key concepts we discuss is the way that filmmakers can start to build their audience and look at their films as passive income generators.</p> <p>The concept of passive income is pretty straight forward. Instead of generating an income through hourly income, passive income is income generated from things like ebooks, videos, affiliate marketing, etc. over time. One of the most alluring aspects of passive income is the idea that at some point, you will create enough passive income that you will not need to work for an hourly wage. Although this sounds nice, I have found in my own experience that most people typically like to have something they do to earn a living as well. Pat himself hasn't let a monthly a 6 figure monthly income slow him down. But I do think it's important for filmmakers to learn Pat's techniques to be ahead of the game when it comes to sales and distribution. </p>
Listen: podcast - audio/mpeg

IFA #46: The Making of "Spring" with Justin Benson & Aaron Moorhead
<p>A few years ago, I was blown away by the Indie Film "Spring". It was a nice break from the long line of horror films that were basically cookie cutters of other better horror films. This is the second film collaboration between Justin Benson and Aaron Moorhead. They started with the love budget surreal thriller "Resolution", which they paid for out of pocket. </p>
Listen: podcast - audio/mpeg

IFA #45: Jeremy Gardner & Christian Stella on The Battery and Tex Montana Will Survive
<p>In this episode I am talking with Jeremy Gardener and Christian Stella. Two of the creators behind the wildly popular zombie film "The Battery" and the upcoming "Tex Montana Will Survive". We discuss what it was like to make an indie film for 6k dollars, what happened after the film came out, and how their experiences have made them want to change the way they approach distribution by offering their latest film for free. </p> <p>To learn more about their crowdfunding campaign on Kickstarter go to <a href="http://www.texmontana.com" target="_blank">www.texmontana.com</a></p>
Listen: podcast - audio/mpeg

IFA #44: Nancy Gerstman of Zeitgeist Films
<p><strong>Nancy Gerstman</strong> is co-president and co-founder of Zeitgeist Films. She has worked in all aspects of film distribution and exhibition including a stint at Landmark Theatre Corp., the largest independent theatre chain in the US. She is in demand as a juror, panelist and commentator on issues related to independent and foreign language film and is Permanent Artist-in-Residence in the Master's Program in Media and Communication Arts at CCNY. She was born in Queens, New York.</p> <p> </p> <p class="intro-text"><strong>Zeitgeist Films is a New York-based distribution company founded in 1988. We acquire and distribute the finest independent films from the U.S. and around the world.</strong></p> <p>Zeitgeist has distributed first films by such notable directors as Todd Haynes, Christopher Nolan, Francois Ozon, Atom Egoyan and the Quay Brothers. Our catalog includes films from the world's most outstanding filmmakers including Agnes Varda, Guy Maddin, Olivier Assayas, Jia Zhang-ke, Abbas Kiarostami, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Philippe Garrel, Yvonne Rainer, Jan Svankmajer, Andrei Zyvagintsev, Laura Poitras, Astra Taylor and Raoul Peck.</p> <p>Zeitgeist is renowned for ground-breaking documentaries which include THE CORPORATION, TROUBLE THE WATER, LAST TRAIN HOME, MY COUNTRY, MY COUNTRY, BALLETS RUSSES, MANUFACTURED LANDSCAPES, INTO GREAT SILENCE, THE GLEANERS AND I, DERRIDA, UP THE YANGTZE and BILL CUNNINGHAM NEW YORK.</p> <p>Six Zeitgeist films have been nominated for Academy Awards and one, NOWHERE IN AFRICA, won the Academy Award for Best Foreign Language Film. Our films have been honored by festivals throughout the world with Grand Prizes at Cannes, Berlin, Sundance, Tribeca, and IDFA in Amsterdam.</p> <p>The Museum of Modern Art honored Zeitgeist with a month-long, 20th anniversary retrospective of our films in 2008.</p>
Listen: podcast - audio/mpeg

IFA #43: Roger Corman, Still Hollywood's Wild Angel
<p><a href="https://www.pinterest.com/indiefilmacdmy/roger-corman/">https://www.pinterest.com/indiefilmacdmy/roger-corman/</a></p> <p>Today I'm talking with one of my heroes, legendary film producer Roger Corman. In this interview we discuss what filmmaking is like today for the Hollywood veteran and we discuss some of Corman's favorite memories and films. </p> <p>We also hear from Jonathan Demme and Ron Howard about their experience working with Mr. Corman as well as a fun clip from Conan. </p>
Listen: podcast - audio/mpeg

IFA #42: Pilar Alessandra of On The Page
<p>PILAR ALESSANDRA is the director of the popular writing program “On The Page” and author of “The Coffee Break Screenwriter.” A sought-after teacher and lecturer, she’s traveled the world teaching screenwriting, pitching and story analysis. As a consultant, Pilar has helped thousands of writers create, refine and sell their scripts and was named “Cream of the Crop” in Creative Screenwriting’s Script Consultant Survey. Her students and clients have sold to Disney, DreamWorks, Warner Brothers and Sony and have won prestigious competitions, including the Austin Film Festival and Nicholl Fellowship.</p> <p>Pilar jump-started her career in film as a script reader for Amblin Entertainment. With the formation of DreamWorks, she became Senior Story Analyst and a reader liaison between the studio and Robert Zemeckis’s company ImageMovers. Her expert script analysis was also sought out by The Robert Evans Company, Cineville Entertainment, Handprint Entertainment and Saturday Night Live Studios. Work at Interscope Communications led her to a position as Senior Story Analyst for Scott Kroopf’s production company Radar Pictures.</p> <p>Pilar was later bitten by the “teaching bug” while teaching screenwriting and story analysis at the UCLA Writers’ Program. In 2001, she started her own company “On the Page,” and in 2004 opened the On the Page Writers Studio in Sherman Oaks, California. In the interest of expanding access to her teaching tools, Pilar created the instructional DVD “On the Page” and presents the weekly “On the Page Podcast” with guests from within the industry. Recently, Pilar was listed as one of LA Weekly’s top 100 people in their “Best of LA People” issue.</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #41: Steve Kaplan and the Hidden Tools of Comedy
<p>Today we're discussing comedy in writing with Steve Kaplan. Steve is the author of the book "The Hidden Tools of Comedy" as well as the founder of the HBO Workspace and the HBO New Writer's Program. </p> <p>He is a consultant and script doctor for Dreamworks, Disney, Paramount, Touchstone and many others. and is also a highly sought-after instructor at UCLA, NYU, Yale and other top universities. </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #40: The 90-Day Screenplay with Alan Watt
<h1>The 90 Day Screenplay with Alan Watt</h1> <p>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 <a href="http://www.amazon.com/gp/product/B00IMM9S0Q/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00IMM9S0Q&linkCode=as2&tag=indfilaca-20&linkId=YEPJ2A4YD4UNKOOI" target="_blank">The 90-Day Screenplay</a>.</p> <p>Alan is also the founder of the <a href="http://lawriterslab.com/" target="_blank">L.A. Writer's Lab </a>and can be followed on <a href="https://twitter.com/lawriterslab" target="_blank">Twitter</a>.</p> <hr /> <p><strong>Show Notes:</strong></p> <p><a href="http://www.ifafreebooks.com" target="_blank">Free Film Audiobook</a><br /><a href="http://www.ifamasters.com" target="_blank">Secrets To Sell Your First Film ($50 Off!)<br /></a><a href="http://lawriterslab.com/" target="_blank">L.A. Writer's Lab<br /></a><a href="http://www.amazon.com/gp/product/B00IMM9S0Q/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00IMM9S0Q&linkCode=as2&tag=indfilaca-20&linkId=YEPJ2A4YD4UNKOOI" target="_blank">The 90-Day Screenplay<br /></a><a href="http://www.amazon.com/gp/product/B000HEWEJO/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B000HEWEJO&linkCode=as2&tag=indfilaca-20&linkId=7EZI2YMQSFOX5YBP" target="_blank">It's A Wonderful Life<br /></a><a href="http://www.amazon.com/gp/product/B0006GAO5Y/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0006GAO5Y&linkCode=as2&tag=indfilaca-20&linkId=Y2O3EYNPRGAK6JAO" target="_blank">Star Wars<br />Rocky</a></p>
Listen: podcast - audio/mpeg

IFA #39: Backstage Pass to Film's Golden Age with Fraser Heston
<p>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.</p> <p>Later, Heston would to on to become a writer and director in his own right with such films and <a href="http://www.amazon.com/gp/product/B00VHAGHH2/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00VHAGHH2&linkCode=as2&tag=indfilaca-20&linkId=EFCEX45RB6AXHTG3" target="_blank">Needful Things</a>, <a href="http://www.amazon.com/gp/product/B00VHAGHH2/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00VHAGHH2&linkCode=as2&tag=indfilaca-20&linkId=EFCEX45RB6AXHTG3" target="_blank">Treasure Island</a> and <a href="http://www.amazon.com/gp/product/B015YGKLYY/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B015YGKLYY&linkCode=as2&tag=indfilaca-20&linkId=TCDOF6GWK4B4R6AI" target="_blank">The Search for Michael</a><a href="http://www.amazon.com/gp/product/B015YGKLYY/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B015YGKLYY&linkCode=as2&tag=indfilaca-20&linkId=TCDOF6GWK4B4R6AI"> Rockafeller</a>.</p> <p>In this episode we take a walk down memory lane and also get some great insight into the directing process. </p> <p> </p> <p>More about Fraser from Agememnon Film's Website:</p> <p>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.</p> <p>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.</p> <div class="columnHalf"> <div class="imgHalfFrame"><img src="http://www.agamemnon.com/page/about/fraser/_images/about_fraser_gallery_camera_crucifer.jpg" alt="Fraser Camera" /></div> </div> <div class="sectionLightGray"> <p>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.</p> </div> <p>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 <a href="http://www.agamemnon.com/page/press/articles/capeHorn.html">remarkable sailing voyage circumnavigating Cape Horn.</a> He continues to travel the world, in search of adventure and a good story.</p> <div class="columnHalf"> <div class="imgHalfFrame"><img src="http://www.agamemnon.com/page/about/fraser/_images/about_fraser_gallery_Cape-Horn.jpg" alt="Fraser Cape Horn" /></div> </div> <p>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.</p> <p>Fraser lives in Los Angeles with his wife Marilyn and son Jack, only a few minutes from the back lot at Paramount.</p>
Listen: podcast - audio/mpeg

IFA #38: License Music for Your Film with Dan Wilcox
<p>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. </p>
Listen: podcast - audio/mpeg

IFA #37: YouTube Marketing for Filmmakers with D4Darious
<p>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. </p> <p> </p> <p>Check out D4Darious on <a href="https://www.youtube.com/channel/UCYaIdC5pbkpECxXLjf0Lzaw" target="_blank">YouTube.</a></p>
Listen: podcast - audio/mpeg

IFA #36: Writing For Disney with Rob Edwards
<p>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.</p>
Listen: podcast - audio/mpeg

IFA #35: The Mini Movie Method with Chris Soth
<p>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. </p>
Listen: podcast - audio/mpeg

IFA #34: How James Cullen Bressack Made 11 Films Before His 24th Birthday
<p>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. </p>
Listen: podcast - audio/mpeg

IFA #33: The Last Exorcism's Daniel Stamm
<h1>The Last Exorcism's Daniel Stamm</h1> <p>Whenever I list my favorite horror movies of the last 10 years, <a href="http://amzn.to/20qJubD">The Last Exorcism</a> 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 href="http://amzn.to/20qJzvW">A Necessary Death</a>. 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 <a href="http://amzn.to/1Q8nTA0">13 Sins</a>. </p> <p><a class="irc_mil i3597" href="http://amzn.to/1Q8odPa" data-noload="" data-ved="0CAcQjRxqFQoTCMTxw8yz9MgCFYIqPgodl7oJjA"><img class="irc_mi" src="http://www.cinemum.net/IMAGES/MOVIES/L/THE-LAST-EXORCISM-POSTER.jpg" alt="" width="265" height="393" /></a></p> <h4>Daniel's 35 questions to ask before directing a scene.</h4> <ol> <li>Scene number?</li> <li>Referring to draft (date)?</li> <li>Description of scene:</li> <li>Can the scene be broken down into several parts?</li> <li>Function / The scene is 'as if'... / "Make this scene important to me."?</li> <li>How is the scene reflecting the theme of the movie?</li> <li>What's fun about the scene?</li> <li>Hitchcockian question mark(s) within the scene?</li> <li>Central image audience is going to remember / thumbnail for DVD?</li> <li>What are the crucial facts the audience needs to understand in this scene? What's risky?</li> <li>What value is at stake in the scene, how is it charged at the beginning, how at the end?</li> <li>What are each character’s objectives in the scene?</li> <li>How can things be visualized / physicalized / externalized?</li> <li>Progressions in character arcs and relationships? From – to?</li> <li>Whose POV are we experiencing the scene from?</li> <li>Whose scene is it? Who or what are we told something about? (as opposed to POV)</li> <li>How are the location and production design a character in this scene?</li> <li>Is there a potential alternative location?</li> <li>How is the lighting a character in this scene? Practicals? Orbs of light?</li> <li>How is the sound a character in the scene?</li> <li>Possible activity for each character and what that tells us about them?</li> <li>How do you want the audience to feel at the end of the scene?</li> <li>Anything that needs to be researched?</li> <li>Experiences from your own life and/or references from other movies that could be helpful?</li> <li>What's the overall tone/energy/rhythm of the scene?</li> <li>Add a surprise or secret?</li> <li>Obligatory and optional character movement?</li> <li>What's the way to shoot this that reflects best what is felt?</li> <li>What are 2 possible other approaches to shooting this?</li> <li>What's the fastest way to shoot this?</li> <li>What would it be like to shoot segments of this in one shot?</li> <li>Add an interesting idea or composition / camera movement?</li> <li>What is a possible transition into the next scene?</li> <li>Any other notes?</li> <li>Any rewrites that would help?</li> </ol>
Listen: podcast - audio/mpeg

IFA #32: Horror Filmmaker and Author Danny Draven
<p>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. <a href="http://amzn.to/20oaJDD" target="_blank">The Filmmaker's Book of the Dead</a> 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.</p> <p>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. </p>
Listen: podcast - audio/mpeg

IFA #31: Redefining the Zombie Genre with Eric England
<p>We continue our October Shockathon with filmmaker Eric England, screenwriter and director of the film Contracted. </p>
Listen: podcast - audio/mpeg

IFA #30: The Taking of Deborah Logan Director Adam Robitel
<p>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.</p> <p> </p> <p>Here's more about Deborah Logan from wikipedia: </p> <p><em><strong>The Taking of Deborah Logan</strong></em> is a 2014 American horror film and the feature film <a class="mw-redirect" title="Directorial debut" href="https://en.wikipedia.org/wiki/Directorial_debut">directorial debut</a> of Adam Robitel, written by Robitel and co-writer <a title="Gavin Heffernan" href="https://en.wikipedia.org/wiki/Gavin_Heffernan">Gavin Heffernan</a>. The film stars <a title="Jill Larson" href="https://en.wikipedia.org/wiki/Jill_Larson">Jill Larson</a>, <a title="Anne Ramsay" href="https://en.wikipedia.org/wiki/Anne_Ramsay">Anne Ramsay</a>, and<a title="Michelle Ang" href="https://en.wikipedia.org/wiki/Michelle_Ang">Michelle Ang</a>.<sup id="cite_ref-1" class="reference"><a href="https://en.wikipedia.org/wiki/The_Taking_of_Deborah_Logan#cite_note-1">[1]</a></sup> Set in <a title="Virginia" href="https://en.wikipedia.org/wiki/Virginia">Virginia</a>, it tells the story of a documentary crew making a film about <a title="Alzheimer's disease" href="https://en.wikipedia.org/wiki/Alzheimer%27s_disease">Alzheimer's</a> patients who uncover something sinister while documenting a woman who suffers from the disease.<sup id="cite_ref-2" class="reference"><a href="https://en.wikipedia.org/wiki/The_Taking_of_Deborah_Logan#cite_note-2">[2]</a></sup> The film was produced by Jeff Rice and <a title="Bryan Singer" href="https://en.wikipedia.org/wiki/Bryan_Singer">Bryan Singer</a> and was released on October 21, 2014.</p> <p> </p> <p>Mia, Gavin, and Luis are a documentary team set to create a documentary about Deborah, an elderly woman suffering from <a title="Alzheimer's disease" href="https://en.wikipedia.org/wiki/Alzheimer%27s_disease">Alzheimer's disease</a>. 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.</p> <p>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.</p> <p>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 <a title="Witch doctor" href="https://en.wikipedia.org/wiki/Witch_doctor">witch doctor</a> 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.</p> <p>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.</p>
Listen: podcast - audio/mpeg

IFA #29: How Our First Film Got on the Shelves at Wal-Mart
<p> </p> <p>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."</p> <p>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.</p> <p>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.</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #28: Studio Insider and Pitch Coach Stephanie Palmer
<p> </p> <p>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.</p> <p>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.</p> <p>Here's more about Stephanie from her website:</p> <h1 class="feature-box-title">Stephanie Palmer: Former MGM Studio Executive</h1> <p>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.</p> <p>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.</p> <ul class="about-stephanie-bullets fa-ul"> <li>Heard 3000+ pitches</li> <li>Hired 100+ writers</li> <li>Oscar/Emmy Award-Winning Clients</li> </ul>
Listen: podcast - audio/mpeg

IFA #27: Getting Things Done with David Allen
<p></p> <p>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.</p> <p>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.</p> <p>Here's more about David from Wikipedia:</p> <p><strong>David Allen</strong> (born December 28, 1945) is a productivity consultant who is best known as the creator of the <a href="https://en.wikipedia.org/wiki/Time_management">time management</a> method known as "<a href="https://en.wikipedia.org/wiki/Getting_Things_Done">Getting Things Done</a>".</p> <p>He grew up in <a href="https://en.wikipedia.org/wiki/Shreveport,_Louisiana">Shreveport, Louisiana</a> where he acted and won a state championship in debate. He went to college at New College, now <a href="https://en.wikipedia.org/wiki/New_College_of_Florida">New College of Florida</a>, in <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Sarasota">Sarasota</a>, Florida, and did graduate work in American history at <a href="https://en.wikipedia.org/wiki/University_of_California,_Berkeley">University of California, Berkeley</a>.<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-Berkeley-2">[2]</a> After graduate school, he began using heroin and was briefly institutionalized.<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-Heroin-3">[3]</a> His career path has included jobs as a <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Magician_%28illusion%29">magician</a>, waiter, <a href="https://en.wikipedia.org/wiki/Karate">karate</a> teacher, landscaper, vitamin distributor, glass-blowing lathe operator, travel agent, gas station manager, U-Haul dealer, moped salesman, restaurant cook,<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-how_mastered-1">[1]</a> personal growth trainer, manager of a lawn service company, and manager of a <a href="https://en.wikipedia.org/wiki/Travel_agency">travel agency</a>. He is an ordained minister with the <a href="https://en.wikipedia.org/wiki/Movement_of_Spiritual_Inner_Awareness">Movement of Spiritual Inner Awareness</a>.<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-4">[4]</a><a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-5">[5]</a> He claims to have had 35 professions before age 35.<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-6">[6]</a> 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 <a href="https://en.wikipedia.org/wiki/Lockheed_Corporation">Lockheed</a>.</p> <p>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 <a href="https://en.wikipedia.org/wiki/Actioneer,_Inc.">Actioneer, Inc.</a>, a company specializing in productivity tools for the <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Palm_Pilot">Palm Pilot</a>.</p> <p>David Allen Company presenters, not Allen, regularly gives one-day public seminars on Allen's Getting Things Done methodology, which cost approximately $595.[<i><a href="https://en.wikipedia.org/wiki/Wikipedia:Citation_needed">citation needed</a></i>] Allen himself gives public seminars only occasionally, which cost approximately $995[<i><a href="https://en.wikipedia.org/wiki/Wikipedia:Citation_needed">citation needed</a></i>]. In 2007, such a seminar from Allen himself went for $595 per person or $20,000 per corporate training session.<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-how_mastered-1">[1]</a></p> <p>Allen has written four books, <i>Getting Things Done: The Art of Stress-Free Productivity</i>, which describes his productivity program, <i>Ready for Anything: 52 Productivity Principles for Work and Life</i>, a collection of newsletter articles he has written, <i>Making It All Work: Winning at the Game of Work and Business of Life</i>, a follow-up to his first book and in 2015 a completely rewritten version of his first book <i>Getting Things Done: the Art of Stress-Free Productivity</i> was published. He lived in <a href="https://en.wikipedia.org/wiki/Ojai,_California">Ojai, California</a> with his fourth wife, Kathryn,<a href="https://en.wikipedia.org/wiki/David_Allen_%28author%29#cite_note-how_mastered-1">[1]</a> whom he describes as his "extraordinary partner in work and life" in the dedication of <i>Getting Things Done</i>. In May 2014 they moved to Amsterdam in the Netherlands, Europe.</p>
Listen: podcast - audio/mpeg

IFA #26: Screenwriting for Studios with Corey Mandell
<p> </p> <p><strong>From <a href="Coreymandell.net" target="_blank">Coreymandell.net</a></strong></p> <p><strong>Corey Mandell</strong> 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.</p> <p> </p> <p> </p> <p>His <strong>Professional Screenwriting and Television Writing Workshops </strong>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.</p> <p> </p> <p>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 <em>Community</em>, <em>The</em> <em>Fosters</em>, <em>Bones</em>, <em>Justified</em>, <em>Young</em> <em>and</em> <em>Hungry</em>, <em>Playing</em> <em>House</em>, <em>The</em> <em>Mentalist</em>, <em>Marvel’s</em> <em>Agents</em> <em>of</em> <em>Shield</em>, <em>Up</em> <em>All </em><em>Night</em>, <em>State</em> <em>of</em> <em>Affairs, Rosewood</em> and <em>Treme</em>.</p> <p> </p> <p>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.</p> <p> </p> <p>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.</p>
Listen: podcast - audio/mpeg

IFA #25: Directors of Bite & Antisocial 2 Chad Archibald and Cody Calahan of Black Fawn Media
<p>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.</p>
Listen: podcast - audio/mpeg

IFA #24: Automated Distribution with Kinonation's Roger Jackson
<div class="col-md-4"> <p>Today we're talking with Roger Jackson of Kinonation. Here is a little information about Roger and Kinonation from <a href="http://www.kinonation.com" target="_blank">kinonation.com</a></p> <h3>Roger Jackson</h3> <p>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.</p> <p>Roger's emphasis at Kinonation is business development and overseeing day-to-day operations.</p> <h2> </h2> <h2>For filmmakers & production companies</h2> <p class="lead">Sell & stream your title on Hulu, iTunes, Amazon and many others</p> <p>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.</p> <div class="col-md-4"> <h2>For distributors, sales agents & aggregators</h2> <p class="lead">Manage & distribute your title catalog in the cloud</p> <p>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.</p> <div class="col-md-4"> <h2>For Digital Service Providers (DSPs)</h2> <p class="lead">Reliable, cloud-based authoring & delivery of thousands of titles.</p> <p>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.</p> </div> </div> </div>
Listen: podcast - audio/mpeg

IFA #23: CineSummit 4 with Aviv Vana
<p>On this episode of the Indie Film Academy Podcast, I'm talking with Aviv Vana of <a href="http://bigleaguefilmschool.com/" target="_blank">Big League Film School</a> and host of the extremely popular <a href="http://www.cinesummit.com/" target="_blank">CineSummit</a>. 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. <br /><br />Click <a href="http://www.cinesummit.com/" target="_blank">HERE</a> to Sign Up for the CineSummit. It's Free!</p> <p>https://www.youtube.com/watch?v=a2l6F8roD_Y </p> <p>More About Aviv:</p> <p>Aviv Vana is the founder of <span class="bld">Big League Film School</span>, a filmmaking website that focuses on connecting our community with some of the most<br /> accomplished artists working in the industry.</p> <p>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, <br /> 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.</p> <p>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.</p>
Listen: podcast - audio/mpeg

IFA #22: The Producer's Roadmap with author John J. Lee Jr.
<p>John J. Lee Jr. , author of the book <span id="productTitle" class="a-size-large" style="font-size: 10pt;">The Producer's Business Handbook: The Roadmap for the Balanced Film Producer drops in to discuss the business side of filmmaking. </span></p> <p><span class="a-size-large" style="font-size: 10pt;">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. </span></p> <p><span class="a-size-large" style="font-size: 10pt;">If you're interested, don't forget to go to www.indiefilmacademy.com/subscribe and sign up.</span></p>
Listen: podcast - audio/mpeg

IFA #21: Mad Max Fury Road Co Writer Brendan McCarthy
<p>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.</p> <p>Here is more about McCarthy from his website <a href="http://www.artbrendan.com" target="_blank">artbrendan.com </a></p> <div id="text-10" class="widget widget_text"> <div class="heading"> <h3>About Brendan McCarthy</h3> </div> <div class="textwidget"> <p class="desc">Brendan McCarthy studied Painting and Film at Chelsea school of Art under the celebrated British Pop Artist Patrick Caulfield.</p> <p class="desc">Brendan is one of the UK's most gifted graphic novelists. His ground-breaking comics of the early 80s (<em>Strange Days, Skin, Rogan Gosh</em>) as part of 'The British Invasion' paved the way for comics’ increasing popularity in Hollywood.</p> <p class="desc">He was also one of the pioneers of computer animation, creating the visuals for the 90s computer animated TV series <em>ReBoot</em>, 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 <em>Mad Max Fury Road</em>.</p> <p class="desc">More recently, Brendan has created new graphic novels including <em>Spider-Man Fever</em> (for Marvel), <em>Solo</em> (for DC Comics) and <em>Swimini Purpose, The Zaucer of Zilk</em> and <em>Dream Gang</em> for independent US publishers. A best-selling retrospective collection of his classic comic book work was released last year, <em>The Best of Milligan & McCarthy</em>.</p> </div> </div> <p> </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #20: Film Financing with Tom Malloy
<p>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.</p> <p> </p> <p>Here's more about Tom from Wikipedia.</p> <p> </p> <p>Malloy wrote, produced and acted in <em><a title="The Alphabet Killer" href="http://en.wikipedia.org/wiki/The_Alphabet_Killer">The Alphabet Killer</a></em><sup id="cite_ref-4" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-4">[4]</a></sup> , a psychological thriller directed by <a title="Rob Schmidt" href="http://en.wikipedia.org/wiki/Rob_Schmidt">Rob Schmidt</a> and starring <a title="Eliza Dushku" href="http://en.wikipedia.org/wiki/Eliza_Dushku">Eliza Dushku</a>, <a title="Cary Elwes" href="http://en.wikipedia.org/wiki/Cary_Elwes">Cary Elwes</a>, <a title="Timothy Hutton" href="http://en.wikipedia.org/wiki/Timothy_Hutton">Timothy Hutton</a> and <a title="Michael Ironside" href="http://en.wikipedia.org/wiki/Michael_Ironside">Michael Ironside</a>; and <em><a class="mw-redirect" title="The Attic (2008 film)" href="http://en.wikipedia.org/wiki/The_Attic_%282008_film%29">The Attic</a></em>,<sup id="cite_ref-5" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-5">[5]</a></sup> a thriller directed by <a title="Mary Lambert" href="http://en.wikipedia.org/wiki/Mary_Lambert">Mary Lambert</a> and starring <a title="John Savage (actor)" href="http://en.wikipedia.org/wiki/John_Savage_%28actor%29">John Savage</a>, <a title="Jason Lewis (actor)" href="http://en.wikipedia.org/wiki/Jason_Lewis_%28actor%29">Jason Lewis</a>, and <a title="Elisabeth Moss" href="http://en.wikipedia.org/wiki/Elisabeth_Moss">Elisabeth Moss</a>.He has written, produced and starred in the 2009 film <em><a title="Love N' Dancing" href="http://en.wikipedia.org/wiki/Love_N%27_Dancing">Love N' Dancing</a></em>,<sup id="cite_ref-6" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-6">[6]</a></sup> a dance film/romantic comedy directed by Rob Iscove that stars <a title="Amy Smart" href="http://en.wikipedia.org/wiki/Amy_Smart">Amy Smart</a>, <a title="Billy Zane" href="http://en.wikipedia.org/wiki/Billy_Zane">Billy Zane</a>, <a title="Betty White" href="http://en.wikipedia.org/wiki/Betty_White">Betty White</a> and <a title="Rachel Dratch" href="http://en.wikipedia.org/wiki/Rachel_Dratch">Rachel Dratch</a>.<sup id="cite_ref-7" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-7">[7]</a></sup><sup id="cite_ref-8" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-8">[8]</a></sup><sup id="cite_ref-9" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-9">[9]</a></sup></p> <p> </p> <p>Malloy has acted in other films, including <em>Gravesend</em>, and on television shows including <em><a title="Law & Order" href="http://en.wikipedia.org/wiki/Law_%26_Order">Law & Order</a></em>, <em><a title="Third Watch" href="http://en.wikipedia.org/wiki/Third_Watch">Third Watch</a></em> and <em><a title="Kidnapped (TV series)" href="http://en.wikipedia.org/wiki/Kidnapped_%28TV_series%29">Kidnapped</a></em>.</p> <p> </p> <p>He wrote the book <em>Bankroll: A New Approach To Financing Feature Films</em> 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.<sup id="cite_ref-10" class="reference"><a href="http://en.wikipedia.org/wiki/Tom_Malloy#cite_note-10">[10]</a></sup></p> <p> </p> <p>In 2013, Malloy partnered with LA based independent film producer Jason Brubaker to create The Film Finance Guide.</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #19: Producers Brian Udovich & Justin Duprie
<p> </p> <p>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 <a href="http://www.imdb.com/title/tt0490076/?ref_=fn_al_tt_1">All the Boys Love Mandy Lane</a> , 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. </p> <p> </p> <p>From IMDB:</p> <p>Brian Udovich has a Masters degree from the AFI (American Film Institute) and bachelors from Illinois Wesleyan University.<br /><br />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.<br /><br />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).<br /><br />Former Senior Business Consultant for the French firm Cap Gemini.<br /><br />Currently resides in Los Angeles.</p> <p> </p> <p> </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #18: Distribution Expert Linda Nelson of Indie Rights
<p>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.</p> <p>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.</p> <p> </p> <p>Here is the coupon code I mentioned in the show.</p> <p> </p> <p>Learn Adobe Photoshop in 1 Hour (No Experience Necesary)</p> <p>https://www.udemy.com/learn-photoshop-in-one-hour-no-experience-needed/?couponCode=ifaps2</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #17: Inktip Founder Jerrol Lebaron
<p>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.</p> <p>For more information on Inktip, go to Inktip.com</p> <p> </p> <p>Don't forget to sign up for our newsletter at www.indiefilmacademy.com/subscribe</p>
Listen: podcast - audio/mpeg

IFA #16: Sound Designer & Independent Filmmaker Kelley Baker
<p>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.</p> <p>To learn more about Kelley or buy his books, go to <a href="http://www.angryfilmmaker.com" target="_blank">angryfilmmaker.com</a></p> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <p>Kelley’s new book, <strong>The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film </strong>is available.  Check out his website <a href="http://www.angryfilmmaker.com/?phpMyAdmin=lpiC%2CQWx67G77Kt09c2DJN5jzp5">www.angryfilmmaker.com</a> for more information.</p> <p>Kelley Baker has lived<strong> “The New Model of Independent Filmmaking”</strong> for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.</p> <p>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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS.</p> <p>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.</p> <p><strong>KICKING BIRD</strong> 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.</p> <p>Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  <strong>THE GAS CAFE</strong> 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”.</p> <p><strong>BIRDDOG</strong> 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.</p> <p>Kelley self distributes his short and feature films.</p> <p>Kelley is producing and directing <strong>DANGEROUS: KAY BOYLE</strong>, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , <strong>The American Dream: A Work in Progress.</strong></p> <p>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).</p> <p>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.</p> <p>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.</p> - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf</div> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;">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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS. - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.HG5x09Ud.dpuf</div> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <h2><a title="Permanent Link to Bio" href="http://www.angryfilmmaker.com/kelleys-bio/" rel="bookmark">Bio</a></h2> <div class="entry"> <p>Kelley’s new book, <strong>The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film </strong>is available.  Check out his website <a href="http://www.angryfilmmaker.com/?phpMyAdmin=lpiC%2CQWx67G77Kt09c2DJN5jzp5">www.angryfilmmaker.com</a> for more information.</p> <p>Kelley Baker has lived<strong> “The New Model of Independent Filmmaking”</strong> for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.</p> <p>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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS.</p> <p>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.</p> <p><strong>KICKING BIRD</strong> 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.</p> <p>Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  <strong>THE GAS CAFE</strong> 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”.</p> <p><strong>BIRDDOG</strong> 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.</p> <p>Kelley self distributes his short and feature films.</p> <p>Kelley is producing and directing <strong>DANGEROUS: KAY BOYLE</strong>, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , <strong>The American Dream: A Work in Progress.</strong></p> <p>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).</p> <p>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.</p> <p>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.</p> </div> - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf</div> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <p>Kelley’s new book, <strong>The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film </strong>is available.  Check out his website <a href="http://www.angryfilmmaker.com/?phpMyAdmin=lpiC%2CQWx67G77Kt09c2DJN5jzp5">www.angryfilmmaker.com</a> for more information.</p> <p>Kelley Baker has lived<strong> “The New Model of Independent Filmmaking”</strong> for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.</p> <p>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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS.</p> <p>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.</p> <p><strong>KICKING BIRD</strong> 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.</p> <p>Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  <strong>THE GAS CAFE</strong> 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”.</p> <p><strong>BIRDDOG</strong> 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.</p> <p>Kelley self distributes his short and feature films.</p> <p>Kelley is producing and directing <strong>DANGEROUS: KAY BOYLE</strong>, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , <strong>The American Dream: A Work in Progress.</strong></p> <p>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).</p> <p>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.</p> <p>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.</p> - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf</div> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <h2><a title="Permanent Link to Bio" href="http://www.angryfilmmaker.com/kelleys-bio/" rel="bookmark">Bio</a></h2> <div class="entry"> <p>Kelley’s new book, <strong>The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film </strong>is available.  Check out his website <a href="http://www.angryfilmmaker.com/?phpMyAdmin=lpiC%2CQWx67G77Kt09c2DJN5jzp5">www.angryfilmmaker.com</a> for more information.</p> <p>Kelley Baker has lived<strong> “The New Model of Independent Filmmaking”</strong> for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.</p> <p>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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS.</p> <p>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.</p> <p><strong>KICKING BIRD</strong> 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.</p> <p>Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  <strong>THE GAS CAFE</strong> 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”.</p> <p><strong>BIRDDOG</strong> 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.</p> <p>Kelley self distributes his short and feature films.</p> <p>Kelley is producing and directing <strong>DANGEROUS: KAY BOYLE</strong>, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , <strong>The American Dream: A Work in Progress.</strong></p> <p>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).</p> <p>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.</p> <p>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.</p> </div> - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf</div> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <h2><a title="Permanent Link to Bio" href="http://www.angryfilmmaker.com/kelleys-bio/" rel="bookmark">Bio</a></h2> <div class="entry"> <p>Kelley’s new book, <strong>The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film </strong>is available.  Check out his website <a href="http://www.angryfilmmaker.com/?phpMyAdmin=lpiC%2CQWx67G77Kt09c2DJN5jzp5">www.angryfilmmaker.com</a> for more information.</p> <p>Kelley Baker has lived<strong> “The New Model of Independent Filmmaking”</strong> for years.  He has found funding for his no-budget films and successfully self distributed them all over the US and Canada.</p> <p>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, <strong>MY OWN PRIVATE IDAHO</strong>, <strong>GOOD WILL HUNTING</strong>, and <strong>FINDING FORRESTER</strong>.  He designed the sound on Todd Haynes feature film, <strong>FAR FROM HEAVEN, </strong>with Dennis Quaid and Julianne Moore.  He was the picture editor/sound designer on Will Vinton’s <strong>The Adventure’s of Mark Twain</strong>, and <strong>Meet The Raisins </strong>for CBS.</p> <p>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.</p> <p><strong>KICKING BIRD</strong> 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.</p> <p>Five people collide in a bar one night, one is dead, one never lived, and the other three are lying.  <strong>THE GAS CAFE</strong> 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”.</p> <p><strong>BIRDDOG</strong> 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.</p> <p>Kelley self distributes his short and feature films.</p> <p>Kelley is producing and directing <strong>DANGEROUS: KAY BOYLE</strong>, a feature documentary chronicling the life of “the most dangerous woman in America” (S.I. Hiyakawa, 1967).  And , <strong>The American Dream: A Work in Progress.</strong></p> <p>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).</p> <p>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.</p> <p>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.</p> </div> - See more at: http://www.angryfilmmaker.com/kelleys-bio/#sthash.Y2F9q3tH.dpuf</div>
Listen: podcast - audio/mpeg

IFA #15: Producer Nicholas Tabarrok of Darius Films
<p>The Art of Film Production with Nicholas Tabarrock. On today's episode of the Indie Film Academy Podcast we talk about the current state of film production including topics such as film funding, the role of the producer, the current state of distribution, and how to create a successful film in the current atmosphere.<br /><br />A Toronto Native, Tabarrock worked his way up from the bottom. He started as a Production assistant on a soap opera and gradually moved up the ranks as a production accountant, production manager, line producer and finally into the role as producer.<br /><br />Nicholas's credits include: The Intruders (2015), The Calling (2014), The Art of the Steal (2013), and Defendor (2009)<br /><br />http://www.dariusfilms.com </p> <p><strong>Learn Filmmaking from Filmmakers</strong><br /><br />To get our free ebook, go to http://www.indiefilmacademy.com/subscribe</p> <p> </p> <p><strong>Keep In touch:</strong></p> <p>http://www.indiefilmacademy.com<br />http://www.facebook.com/indiefilmacademy<br />http://www.twitter.com/indiefilmacdmy<br />http://www.pinterest.com/indiefilmacdmy<br /><br />About Darius Films: </p> <div class="box-post-content"> <p>Darius Films is a pretty cool little film and TV production company. Yah, we’re a small company, it’s true, but we work hard and we know what we’re doing and we manage to actually get pictures made.</p> <p>We made this picture DEFENDOR which kinda made a big splash at the Toronto International Film Festival in 2009. After that, we made a film called A BEGINNER’S GUIDE TO ENDINGS, that played as a Gala Presentation at the Toronto International Film Festival which means it screened in the huge symphony hall to 3,000 people. That was pretty neat. Harvey Keitel was in that one.</p> <p>Our film WEIRDSVILLE, which Allan Moyle directed (he’s the guy who made PUMP UP THE VOLUME and EMPIRE RECORDS), got some awesome reviews; <a href="http://www.dariusfilms.com/wp-content/uploads/2013/03/Review_WEIRDSVILLE_Variety_Jan_20th.pdf">this one</a> from Variety was my favorite.</p> <p>Before that we made a movie called THE LIFE AND HARD TIMES OF GUY TERRIFICO that starred some really awesome musicians, including Kris Kristofferson who’s just about the coolest guy on the planet. TERRIFICO won the ‘best first time director’ award at the Toronto International Film Festival in ’05 and then it was voted the Best Canadian Film of 2005 by the readers of “Inside Entertainment” magazine. That was pretty cool.</p> <p>A couple of years ago the Austin Film Festival had over 3,000 submissions and they chose 10 feature films for competition, can you believe that 2 of them were produced by us? What are the odds of that? It’s true, RUN ROBOT RUN a sci-fi romantic comedy and A LOBSTER TALE were both in the Austin Film Fest that year. That was a fun week (ate a lot of brisket).</p> <p>We also made a movie about Easter bunnies called HANK AND MIKE, but it’s definitely not for kids. It’s kinda BAD SANTA for Easter. We made a film called COOPERS’ CHRISTMAS about one crazy Christmas Day with the world’s most dysfunctional family (but in a funny way).</p> <p>We’ve made a bunch of other films too, nearly twenty now, that have played and sold all over the world so that’s kinda nifty.</p> <p>We love movies and we’re gonna keep making them but we also dig television in a big way. Our first series just started its second season. It’s an adult animated series called Fugget About It about a mob family living in witness protection. We’re working with some great writers and broadcasters around the world on a bunch of really other exciting ideas too.</p> <p>Anyway… check out some trailers and stuff if you want by clicking around on this site, and if you want to call us or anything our number’s on here too. Thanks for visiting…</p> </div> <p> </p>
Listen: podcast - audio/mpeg

IFA #14: Birdman Co-Writer & Oscar-Winner Alex Dinelaris
<p>Oscar Winner Alex Dinelaris (Birdman) talks with us about screenwriting and what it was like working with <a href="http://www.imdb.com/name/nm0327944/?ref_=tt_ov_dr"><span class="itemprop">Alejandro González Iñárritu</span></a>, <a href="http://www.imdb.com/name/nm1481172/?ref_=ttfc_fc_wr2">Nicolás Giacobone</a>, and <a href="http://www.imdb.com/name/nm3174584/?ref_=ttfc_fc_wr4">Armando Bo</a>. We discuss Alex's process for putting together a story and do a deep analysis of various scenes of Birdman.<br /><br />Alex was in a rare position to be on-set during the filming of Birdman, so of course I took the opportunity to ask about what it was like to watch Alejandro and Chivo on set with Michael Keaton, Emma Stone, Edward Norton, Naomi Watts and Zach Galifianakis. </p> <p>Alex also mentions that he is currently working with Guillermo del Toro. </p> <p> </p> <p>From IMDB</p> <p>Alexander Dinelaris is a writer and producer, known for <a href="http://www.imdb.com/title/tt2562232?ref_=nmbio_mbio">Birdman: Or (The Unexpected Virtue of Ignorance)</a> (2014), <a href="http://www.imdb.com/title/tt4481554?ref_=nmbio_mbio">The Year of the Monarchs</a> and <a href="http://www.imdb.com/title/tt3894018?ref_=nmbio_mbio">The One Percent</a> (2015).</p> <p> </p> <p>Alex is active on twitter: @alexdinelaris</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #13: Emily Best, founder of Seed&Spark
<p>Today we are talking with Seed&Spark founder Emily Best. Emily talks to us about the ways that Seed&Spark has been able to not only survive but thrive in the midst of other larger crowdfunding platforms. What makes Seed & Spark unique is that it is the only crowdfunding platform specifically designed for filmmakers. They have created a number of innovations, such as their own platform for distribution as well as the concept of creating a gift registry where supporters can offer things other than money.</p> <p>You can find Emily on twitter at @emilybest</p> <p>From Emily's profile on Seed&Spark:</p> <p>Emily Best is the Founder and CEO of Seed&Spark. She loves storytelling, storytellers, and stories. She was lucky enough to make a movie with some of her closest friends, a project called "Like the Water" that inspired this whole crazy idea.</p>
Listen: podcast - audio/mpeg

IFA #12: Luke Neumann of Neumann Films
<p>Youtube allstars Neumann Films has been delivering high quality and entertaining tutorials for filmmakers since before it was cool. Today I talk with Luke Neumann about the origin of Neumann Films, their Web Series "The Beacon", shooting with a 3 person crew, diy filmmaking, visual fx, and film scoring using virtual instruments.</p> <p>To learn more about Luke and Neumann Films, check out their Youtube channel at https://www.youtube.com/user/Neumannfilms</p> <p> </p> <p>As always, don't forget to come by www.indifilmacademy.com and subscribe to our newsletter. We'll send you a free ebook just for joining. Right now we're featuring the booke "10 Indie Film Mistakes: What most filmmakers do to ruin their own films"</p> <p> </p> <p> </p> <p> </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #11: Jerome Courshon and the Secrets to Film Distribution
<p>Distribution Nightmares! Many filmmakers spend years making their film only to give away the rights to an unscrupulous distribution company. Today we're talking with Jerome Courshon about things you can do to protect yourself when it comes to distribution.</p> <p>Jerome is offering a very special discount on his training program "The Secrets of Distribution" to the listeners of this podcast for a very limited time. So if you're seeing this, you're probably too late. </p> <p> </p> <p>More about Jerome:</p> <p>Film producer, distribution expert, and today's "go-to" authority of how to get a film to market, <strong>Jerome Courshon</strong> has broken open the "exclusive club" of successful independent producers with his innovative 3-Day Program, <em>"THE SECRETS TO DISTRIBUTION: Get Your Movie Distributed Now!"</em><br /> <br /> Along with his Master Classes, varied lectures and an elite consulting service under his banner <strong>Film Distribution Solutions</strong>, Courshon provides valuable strategies to Producers & Directors in getting their films into the top distribution markets. Clients have achieved distribution with Warner Bros., Sony Pictures, Lionsgate, among numerous others.<br /> <br /> Jerome Courshon knows the "game," and his core lesson: <strong>How to play it.</strong><br /> <br /> A producer in his own right (he secured a profitable distribution deal with Warner Bros. on his very first indie movie), Courshon is called upon by many sources for his savvy. From beginning to veteran producers, as well as the press, they contact him regularly to gain access to his unparalleled expertise and invaluable knowledge.<br /> <br /> Regarded as one of the world's chief experts in distribution, he tracks the ever-changing film industry distribution markets to present relevant, trending and successful strategies in his lectures, classes and 3-Day Program. His ultimate goal for every filmmaker? <em>Get your movie or documentary to the marketplace successfully.</em><br /> <br /> Citing his own personal journeys of releasing films and working with distributors, Courshon highlights the many obstacles & challenges filmmakers face today -- and how to overcome them. His teachings also pack powerful messages on how to stay in the game for the long haul. At the heart of every lesson on distribution is a focus on "what works and what doesn't" in reaching your audience.</p> <p>Taken from www.distribution.la</p>
Listen: podcast - audio/mpeg

IFA #10: Selling Your Screenplay with Ashley Scott Meyers
<p>Ashley Scott Meyers joins us to talk about how he has been able to build a career as a screenwriter outside of the Hollywood system. Ashley has created a blog over at www.sellingyourscreenplay.com and hosts a podcast dedicated to talking with other screenwriters who have been able to option and sell their work.</p> <p>We discuss the nuts and bolts of selling a screenplay. How options work. What do producers typically pay for screenplays. What you can do to attract producers and what turns them off. </p> <p> </p> <p>Here's a little more information about Ashley.</p> <p>From sellingyourscreenplay.com.</p> <p>My screenwriting journey begin the moment I thought I figured out how to sell a script.  While I always had it in the back of my mind that I wanted to write a screenplay, because I had no idea how to go about selling it I was never motivated enough to put pen to paper and actually write something.</p> <p>One day in college while waiting for class I wandered into the poetry reading room.  On one of the shelves they had a book called <em><a title="Buy Writer's Market at Amazon.com" href="http://www.sellingyourscreenplay.com/links/amazon/70" target="_blank">Writer’s Market</a></em>.  It listed thousands of publishers and had a brief description of what they were looking for.  I flipped through it and found a section on screenplays which essentially listed about 100 production companies who would supposedly read scripts from unproduced writers.</p> <p>That glimmer of a potential sale was all the motivation I needed to crank out the first 10 pages of a brilliant and hilarious untitled comedy script I had been kicking around in my head for years.  I mailed it to two companies in the <em><a title="Buy Writer's Market at Amazon.com" href="http://www.sellingyourscreenplay.com/links/amazon/70" target="_blank">Writer’s Market</a> </em>who, from their descriptions, seemed especially open to reading material from new writers.  A couple weeks later someone from one of the companies called me and basically told me not to bother sending anymore scripts out until I had done some serious learning.  He recommended reading <a title="buy Syd Field’s Screenplay at Amazon.com" href="http://www.sellingyourscreenplay.com/links/amazon/71" target="_blank">Syd Field’s Screenplay</a> which I promptly did.  A week later I got a letter from the other company thanking me for the undated, untitled submission and wishing me luck with my project and politely passing.  While this isn’t exactly the reaction I was hoping for it was enough of a reaction for me to realize that if I had a good script I might be able to get it to the ‘right’ people. I have made thousands of submissions since that first one, optioned dozens of my scripts, and even sold a few and had them turned into films.</p> <p>So this is the focus of my screenwriting blog: selling your screenplay.  I may occasionally dip into the art of writing and give my opinions but I’ll try to keep focused on how you can actually get your script sold and made into a movie.  Ultimately that’s what screenwriting is all about and frankly the quality of your script often times doesn’t matter if you know how to sell it.</p> <p>I don’t pretend to be the most accomplished screenwriter in the world (<a href="http://www.imdb.com/name/nm0583488/" target="_blank">click here to check out my credits on IMDb</a>).  I’m certainly not and never will be.  So if you have suggestions, comments, or ideas please add to the discussion by posting comments.  While I have had a few of my scripts made into films I know that I too still have a lot to learn about writing and selling.</p>
Listen: podcast - audio/mpeg

IFA #9: Caleb Pike discusses the best new cameras for filmmaking.
<p>Geeking out with Caleb about camera gear and discussing the real difference between consumer dslr's as well as lenses and other gear. Whoever you are, if you want to be a filmmaker there has never been a better time to run out, buy an inexpensive dslr like the Canon t3i and a 50mm f1.8 lens and start shooting absolutely beautiful video.</p> <p>Two of the main cameras that Caleb recommends are the Panasonic GH3 and the Sony A7s. We also talk about why, at the time of this taping in 2015, there is really no reason for filmmakers to buy a Canon 5D mkIII. Caleb himself has started shooting with the Canon C100 which is specifically made for filmmaking. So we talk about the advantages of shooting with high end cameras vs. dslrs.</p> <p> </p> <p>Caleb Pike is a camera operator, editor, and podcaster based in Chicago, IL. His experience branches from documentary and commercial, to film and educational material.</p> <p><strong>Contact</strong></p> <ul> <li>Twitter: <a href="http://twitter.com/calebpike" target="_blank">@calebpike</a></li> <li><a href="https://plus.google.com/112276133738863731586/posts" target="_blank" rel="me">Google+</a></li> <li><a href="https://www.facebook.com/dslrvideoshooter" target="_blank">Facebook Page</a></li> <li>Email via the <a href="http://dslrvideoshooter.com/contact/">contact page</a></li> </ul> <p> </p> <p>If you enjoy the podcast please don't forget to subscribe:</p> <p>http://www.indiefilmpodcast.com</p> <p>or visit our website and get a free ebook for signing up to our newsletter.</p> <p>http://www.indiefilmacademy.com</p> <p>or follow us:</p> <p>http://www.facebook.com/indiefilmacademy</p> <p>http://www.twitter.com/indiefilmacdmy</p> <p>http://www.pinterest.com/indiefilmacdmy</p>
Listen: podcast - audio/mpeg

IFA #8: Todd Berger: Screenwriter & Director of "It's A Disaster"
<p>Screenwriter, Actor, Director...Todd Berger is a triple threat. Today we sit down and talk with Todd about his life and how it has led him to direct the film "It's A Disaster" starring David Cross, Julia Stiles, and America Ferrera.</p> <p>Here's more about Todd from the Wikipedia:</p> <p><strong>Todd Berger</strong> (born April 5, 1979) is an American <a title="Actor" href="http://en.wikipedia.org/wiki/Actor">actor</a>, <a title="Screenwriter" href="http://en.wikipedia.org/wiki/Screenwriter">screenwriter</a>, and <a title="Film director" href="http://en.wikipedia.org/wiki/Film_director">film director</a>, most prominently known for writing, directing, and appearing in the films <em><a title="The Scenesters" href="http://en.wikipedia.org/wiki/The_Scenesters">The Scenesters</a></em> and <em><a title="It's a Disaster" href="http://en.wikipedia.org/wiki/It%27s_a_Disaster">It's a Disaster</a></em>. Berger has also appeared as an actor in films such as <em><a title="Southland Tales" href="http://en.wikipedia.org/wiki/Southland_Tales">Southland Tales</a></em> and on the television show <em><a title="Parks and Recreation" href="http://en.wikipedia.org/wiki/Parks_and_Recreation">Parks and Recreation</a></em>.</p> <p> </p> <p>Berger is a graduate of <a title="University of Texas at Austin" href="http://en.wikipedia.org/wiki/University_of_Texas_at_Austin">The University of Texas at Austin</a>, where he worked for the <a title="Student television station" href="http://en.wikipedia.org/wiki/Student_television_station">student television station</a> <a title="K29HW-D" href="http://en.wikipedia.org/wiki/K29HW-D">KVR-TV</a> and wrote and directed the nationally syndicated comedy show <em>Campus Loop</em>.<sup id="cite_ref-1" class="reference"><a href="http://en.wikipedia.org/wiki/Todd_Berger#cite_note-1">[1]</a></sup></p> <p>Berger also wrote <em><a title="The Happytime Murders" href="http://en.wikipedia.org/wiki/The_Happytime_Murders">The Happytime Murders</a></em>, an upcoming noir-comedy puppet film being directed by <a title="Brian Henson" href="http://en.wikipedia.org/wiki/Brian_Henson">Brian Henson</a>, and is currently writing a screenplay for a film adaptation of <em><a class="mw-redirect" title="Where's Waldo" href="http://en.wikipedia.org/wiki/Where%27s_Waldo">Where's Waldo</a></em>.<sup id="cite_ref-2" class="reference"></sup></p> <p>Don't forget to subscribe to our newsletter. <a href="http://www.indiefilmacademy.com">http://www.indiefilmacademy.com</a></p> <p>You can also stay in touch here:</p> <p><a href="http://www.pinterest.com/indiefilmacdmy">http://www.pinterest.com/indiefilmacdmy</a></p> <p><a href="http://www.twitter.com/indiefilmacdmy">http://www.twitter.com/indiefilmacdmy</a></p> <p><a href="http://www.facebook.com/indiefilmacademy">http://www.facebook.com/indiefilmacademy</a></p>
Listen: podcast - audio/mpeg

IFA #7: Filmmaker Kevin Shahinian of Pacific Pictures
<p>I first became aware of Kevin Shahinian's work a few weeks ago while watching some of the presentations at Cinesummit. Kevin's company Pacific Pictures specializes in ultra high end films for weddings however, I want to stay away from using a term like Wedding Videographer, because if you have seens Kevin's work, it is truly inspiring. His company specializes not only in creating films that spotlight weddings, but also in creating short narrative films starring members of the wedding party along side real actors.</p> <p>One of the things that stood out for me especially regarding indie filmmaking was Kevin's description of shooting the short film Matroshka, where he shot almost everything on his own, including directing non actors and running his own sound. Honestly, describing his work doesn't do it justice. You need to check out his videos for yourself. </p> <p>You can see his work here: http://www.pacificpicturesblog.com/blog/</p> <p>If you enjoy our podcast, please subscribe and leave a review.</p> <p>Also, don't forget to subscribe to our newsletter and we'll send you a free ebook: http://www.indiefilmacademy.com</p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #6: Indiegogo's Film Campaign Specialist John Trigonis joins us.
<p>John Trigonis, Film Campaign Specialist at Indiegogo, discusses strategies for making sure you're film's crowdfunding campaign is successful.</p> <p>To get our free e-book go to http://www.indiefilmacademy.com and sign up for our newsletter. </p> <p>You can also find us on Pinterest...yes...Pinterest. </p> <p>http://www.pinterest.com/indiefilmacdmy</p> <p>Twitter: @indiefilmacdmy</p> <p> </p> <p>More about John:</p> <p>From:  http://johntrigonis.com</p> <p>I’m a published poet, writer, and storyteller, independent filmmaker, and author of <em><a href="http://bit.ly/CF4Amazon" target="_blank">Crowdfunding for Filmmakers: The Way to a Successful Film Campaign</a></em>. Raised right on coffee, comics, and red wine.</p> <p> </p> <p><strong><em>Crowdfunding for Filmmakers: The Way to a Successful Film Campaign</em></strong>, is now available for purchase at <a title="Buy at MWP.com and get your copy in February!!" href="http://shop.mwp.com/products/crowdfunding-for-filmmakers-the-way-to-a-successful-film-campaign">Michael Wiese Productions</a>!</p> <p> </p> <p><strong>A book about crowdfunding? Specifically for filmmakers?</strong><br /> As a crowdfunding success story myself –– raising $6,300 to make my award-winning short film <a title="Cerise's official website" href="http://Cerisemovie.com" target="_blank"><em>Cerise </em></a>–– I’ve realized that most filmmakers don’t consider themselves crowdfunders, never mind entrepreneurs, and therefore rarely take the time to research other campaign strategies like I had done. Instead, they navigate this brave new landscape blindfolded with only a hope and a dream. That’s why <em>Crowdfunding for Filmmakers: The Way to a Successful Film Campaign</em> will be an invaluable tool to ensure a triumphant climax to a rigorous crowdfunding campaign.</p> <p><strong>So what’s the book about?</strong><em><br /> Crowdfunding for Filmmakers</em> centers around offering practical information, tips, and tactics about how to launch a successful film campaign by going with the flow of traditional models of fundraising, utilizing today’s technological and social innovations, and augmenting each with an added personal touch. The book examines various ways to meet and exceed one’s crowdfunding goal through chapters that home in on team building, audience outreach, and crowdfunder etiquette, along with a section containing case studies from successful film campaigns, as well as a few unsuccessful ones and what they could’ve done to remedy their unfavorable outcomes.</p>
Listen: podcast - audio/mpeg

IFA #5: Sharknado Screenwriter Thunder Levin
<p>Get Our Free Ebook:</p> <p><a href="http://four.libsyn.com/www.indiefilmacademy.com" target="_blank">http:///www.indiefilmacademy.com</a></p> <p>STAY IN TOUCH:<br /><a href="http://www.facebook.com/indiefilmacademy" target="_blank">Facebook</a><br /><a href="http://www.twitter.com/indiefilmacdmy" target="_blank">Twitter</a><br /><a href="http://www.pinterest.com/indiefilmacdmy" target="_blank">Pinterest</a></p> <p>Today's episode is sponsored by <a href="http://www.printdirtcheap.com">printdirtcheap.com</a>. Enter the code IFAPODCAST for an additional 20% discount.</p> <p> </p> <p>About Thunder Levin:</p> <div class="soda odd"> <p>Thunder Levin was born and raised in New York City, graduated from Hunter College High School, and received a BFA in Film from NYU before moving to Los Angeles at age 23. His father Michael was an award-winning journalist before retiring from WCBS radio. His mother Glenis was an immigrant from Liverpool, England, where she worked across the street from the Cavern Club while the Beatles were playing there... and never went to see them! He credits the original Star Trek television series with opening his mind to both the wonders of science fiction and filmmaking as a child, while the original Star Wars solidified his desire to make movies when he grew up. A high school TV production class sealed the deal.<br /><br /><a href="http://www.imdb.com/title/tt0970520?ref_=nmbio_mbio">Mutant Vampire Zombies from the 'Hood!</a> (2008) starring C. Thomas Howell was Thunder's feature film directorial debut. This led to him writing and/or directing several films for production company The Asylum, including <a href="http://www.imdb.com/title/tt2175927?ref_=nmbio_mbio">American Warships</a> (2012) and <a href="http://www.imdb.com/title/tt2756412?ref_=nmbio_mbio">AE: Apocalypse Earth</a> (2013), culminating in the pop culture phenomenon <a href="http://www.imdb.com/title/tt2724064?ref_=nmbio_mbio">Sharknado</a> (2013). While continuing to write and direct feature films, he is also developing episodic television projects.<br /><br />Thunder is a lifelong sailor and car enthusiast who's recently taken up motorcycle riding. In addition to his film and television work, he is writing his first novel. He lives in Santa Monica, CA, but considers himself a "temporarily misassigned New Yorker". Thunder is his real name. Please don't ask why.</p> <p><em>- IMDb Mini Biography By: <a href="http://www.imdb.com/search/name?bio_author=Stagecoach%20Entertainment&view=simple&sort=alpha" name="ba"> Stagecoach Entertainment </a> </em></p> <p> </p> </div> <p>Keywords:<br />indie film<br />film<br />indie films<br />indie movies<br />filmmaking<br />best indie movies<br />feature film<br />best indie movies<br />feature film<br />film producer<br />independent films<br />best indie films<br />film independent<br />best independent films<br />independent movies<br />international film festival<br />movie production companies<br />independent film<br />what is indie<br />film distribution<br />indie movie<br />movie production<br />movie producers<br />best independent movies<br />top indie movies<br />independent film channel<br />top indie film</p> <p> </p>
Listen: podcast - audio/mpeg

IFA #4: Entertainment Attorney Mark Litwak
<p>Don't make these legal mistakes that will make you unable to sell your film. </p> <p>Get Our Free Ebook:</p> <p>http:///www.indiefilmacademy.com</p> <p> </p> <p>STAY IN TOUCH:</p> <p>Facebook</p> <p>Twitter</p> <p>Pinterest</p> <p> </p> <p>Today's episode is sponsored by printdirtcheap.com. Enter the code IFAPODCAST for an additional 20% discount.</p> <p>Biography of Mark Litwak from http://www.marklitwak.com</p> <p> </p> <p>Mark Litwak is a veteran entertainment attorney and founder of the Law Offices of Mark Litwak & Associates based in Los Angeles,  California. His practice includes work in the areas of copyright, trademark, contract, multimedia law, intellectual property and book publishing. As a Producer’s Representative, he assists filmmakers in arranging financing, marketing and distribution of their films.  He is a law professor and serves as an expert witness on motion picture industry cases.</p> <p> </p> <p>Litwak is the author of six books:  Reel Power, The Struggle for Influence and Success in the New Hollywood (William Morrow, 1986), Courtroom Crusaders (William Morrow, 1989), Dealmaking in the Film & Television Industry (Silman-James Press, 1994) (winner of the 1996 Kraszna-Krausz award for best book in the world on the film business), Contracts for the Film & Television Industry (Silman-James Press, 3rd Ed. 2012), Litwak's Multimedia Producer's Handbook (Silman-James Press, 1998), and  Risky Business: Financing and Distributing Independent Film  (Silman-James Press, 2004). </p> <p> </p> <p>He has contributed articles to The Los Angeles Times, The Business of Film, The Hollywood Reporter, Moviemaker and Daily Journal.  He is the creator of the CD-ROM program Movie Magic Contracts. He also writes a blog for Independent Filmmaker Project (IFP). </p> <p> </p> <p>Litwak has been a lawyer since 1977 and worked in New York and California. He has an AV Peer Review Rating from Martindale-Hubbell and has been designated a Southern California Super Lawyer numerous  times by  Thomson Reuters.  His cases include winning nearly two million dollars against a major distributor for failing to pay a filmmaker his share of revenue.</p> <p> </p> <p>As a law professor he has taught  entertainment law, copyright or torts at  Loyola Law School and the University of Puget Sound School of Law. He is an adjunct professor at the U.S.C. Gould School of Law. He has taught entertainment law courses at U.C.L.A. Extension for more than 25 years and has has lectured for the American Bar Association as well as for the California and Texas state bar associations. A frequent speaker, he has presented seminars across the United States, and in England, Australia, New Zealand, South Africa and Canada including presentations for Volunteer Lawyers for the Arts, the American Film Institute, Harvard University, Columbia University,  the University of British Columbia and the Royal College of Art in London. </p> <p> </p> <p>Litwak has represented clients in entertainment industry arbitrations. He has also served as an arbitrator on the AAA and IFTA entertainment panels. </p> <p> </p> <p>His background also includes stints as a television journalist, writing and producing news segments for Telepictures, and as a television producer with Marble Arch Productions. He is a former Vice President and General Counsel for  a merchant banking and communications company.  Litwak has packaged movie projects and served as executive producer on such feature films as “The Proposal,” “Out Of Line,” “Pressure,” and “Diamond Dog.” He has provided legal services or worked as a producer rep on more than 200 feature films. He is production counsel for several television shows including the Emmy Award winning “Childrens Hospital."</p> <p> </p> <p>Keywords:</p> <p>indie film</p> <p>film</p> <p>indie films</p> <p>indie movies</p> <p>filmmaking</p> <p>best indie movies</p> <p>feature film</p> <p>best indie movies</p> <p>feature film</p> <p>film producer</p> <p>independent films</p> <p>best indie films</p> <p>film independent</p> <p>best independent films</p> <p>independent movies</p> <p>international film festival</p> <p>movie production companies</p> <p>independent film</p> <p>what is indie</p> <p>film distribution</p> <p>indie movie</p> <p>movie production</p> <p>movie producers</p> <p>best independent movies</p> <p>top indie movies</p> <p>independent film channel</p> <p>top indie film</p> <p> </p> <p> </p>
Listen: podcast - audio/mpeg

IFA #3: Screenwriting with Linda Seger
<p>Today we're talking with Script Consultant and Author Linda Seger about how to develop as a screenwriter.</p> <p>You can find more information about Linda at her website: <a href="http://www.imdb.com/name/nm0781994/" target="_blank">http://www.lindaseger.com/</a></p> <p>For a list of all the films Linda has consulted on, check out her <a href="http://www.imdb.com/name/nm0781994/">IMDB Page</a>.</p> <p>STAY IN TOUCH:<br /><a href="http://www.indiefilmacademy.com">www.indiefilmacademy.com</a><br /><a href="http://www.facebook.com/indiefilmacademy" target="_blank">Facebook</a><br /><a href="http://www.twitter.com/indiefilmacdmy" target="_blank">Twitter</a><br /><a href="http://www.pinterest.com/indiefilmacdmy" target="_blank">Pinterest</a></p> <p>Today's episode is sponsored by <a href="http://www.printdirtcheap.com">printdirtcheap.com</a>. Enter the code IFAPODCAST for an additional 20% discount. <br /><br />Don't forget to join our newsletter and we'll send you tons of information about filmmaking as well as a free copy of "Top 10 Indie Filmmaking Mistakes" <br /><br />Keywords:<br />indie film<br />film<br />indie films<br />indie movies<br />filmmaking<br />best indie movies<br />feature film<br />best indie movies<br />feature film<br />film producer<br />independent films<br />best indie films<br />film independent<br />best independent films<br />independent movies<br />international film festival<br />movie production companies<br />independent film<br />what is indie<br />film distribution<br />indie movie<br />movie production<br />movie producers<br />best independent movies<br />top indie movies<br />independent film channel<br />top indie film</p>
Listen: podcast - audio/mpeg

IFA #2: Produce Your Independent Film with Suzanne Lyons
<p>Get a free ebook when you sign up for our newsletter:</p> <p><a href="http://www.indiefilmacademy.com" target="_blank">http://www.indiefilmacademy.com</a></p> <p> </p> <p>STAY IN TOUCH:<br /><a href="http://www.indiefilmacademy.com">www.indiefilmacademy.com</a><br /><a href="http://www.facebook.com/indiefilmacademy" target="_blank">Facebook</a><br /><a href="http://www.twitter.com/indiefilmacdmy" target="_blank">Twitter</a><br /><a href="http://www.pinterest.com/indiefilmacdmy" target="_blank">Pinterest</a></p> <p>Today we talk with Producer <a href="http://http//www.imdb.com/name/nm1068047/?ref_=fn_al_nm_1">Suzanne Lyons</a>. Suzanne was recently the co-executive producer for the filme <a href="http://www.imdb.com/title/tt1666335/?ref_=fn_al_tt_1" target="_blank">"The Calling"</a> starring Susan Sarandon, Ellen Burstyn, Donal Sutherland and Topher Grace.</p> <p>She is also produced the thriller "Most Likely To..." with MarVista Entertainment. She is also set to produce the film "The Final Hour."</p> <p>Suzanne's book "Indie Film Producing: The Craft of Low Budget Filmmaking" is available on <a href="http://www.amazon.com/Indie-Film-Producing-Budget-Filmmaking/dp/024081763X/ref=sr_1_1?ie=UTF8&qid=1421865221&sr=8-1&keywords=suzanne+lyons" target="_blank">Amazon</a>.</p> <p> </p> <p>She also has 10 free tips on YouTube at <a href="http://www.youtube.com/suzannelyons" target="_blank">www.youtube.com/suzannelyons</a></p> <p> </p> <p>Suzanne also teaches workshops on Film Production at Singapore Media Academy, National University, Columbia College, and New York Film School. For more information go to <a href="http://www.snowfallfilms.com">www.snowfallfilms.com </a></p> <p>Today's episode is sponsored by <a href="http://www.printdirtcheap.com">printdirtcheap.com</a>. Stay tuned until the end of the episode for a special discount code.  <br /><br />Don't forget to join our newsletter and we'll send you tons of information about filmmaking as well as a free copy of "Top 10 Indie Filmmaking Mistakes" <br /><br /><br />Keywords:<br />indie film<br />film<br />indie films<br />indie movies<br />filmmaking<br />best indie movies<br />feature film<br />best indie movies<br />feature film<br />film producer<br />independent films<br />best indie films<br />film independent<br />best independent films<br />independent movies<br />international film festival<br />movie production companies<br />independent film<br />what is indie<br />film distribution<br />indie movie<br />movie production<br />movie producers<br />best independent movies<br />top indie movies<br />independent film channel<br />top indie film</p>
Listen: podcast - audio/mpeg

IFA #1: Sell Your Film with Jason Brubaker
<p>How can you sell your film? We're talking with Jason Brubaker of <a href="http://www.filmmakingstuff.com" target="_blank">Filmmaking Stuff</a> about the different options for filmmakers. We discuss the AFM American Film Market, options for filmmakers to self distribute using platforms such as <a href="http://www.netflix.com" target="_blank">Netflix</a>, <a href="http://www.itunes.com" target="_blank">iTunes</a>, and <a href="http://www.amazon.com">Amazon</a>. We also talk about ways that filmmakers can build their following through social media on Facebook, Twitter, and building a mailing list.<br /><br />Today's episode is sponsored by <a href="http://www.printdirtcheap.com">printdirtcheap.com</a>. Stay tuned until the end of the episode for a special discount code.  <br /><br />Don't forget to join our newsletter and we'll send you tons of information about filmmaking as well as a free copy of "Top 10 Indie Filmmaking Mistakes" <br /><br />STAY IN TOUCH:<br /><a href="http://www.indiefilmacademy.com">www.indiefilmacademy.com</a><br /><a href="http://www.facebook.com/indiefilmacademy" target="_blank">Facebook</a><br /><a href="http://www.twitter.com/indiefilmacdmy" target="_blank">Twitter</a><br /><a href="http://www.pinterest.com/indiefilmacdmy" target="_blank">Pinterest</a><br /><br />Keywords:<br />indie film<br />film<br />indie films<br />indie movies<br />filmmaking<br />best indie movies<br />feature film<br />best indie movies<br />feature film<br />film producer<br />independent films<br />best indie films<br />film independent<br />best independent films<br />independent movies<br />international film festival<br />movie production companies<br />independent film<br />what is indie<br />film distribution<br />indie movie<br />movie production<br />movie producers<br />best independent movies<br />top indie movies<br />independent film channel<br />top indie film</p>
Listen: podcast - audio/mpeg


My Yahoo!  Google Reader  My MSN  podnova  NewsGator  Odeo

Search the web   PodCast Search:
Search On : All Words Any Words iTunes Web

  Submit PodCast Site       Recently Submitted PodCast Sites  

©2005-2017 - A Vebro Solutions Venture
Now Searching 12,909 PodCast
Need a vacation? Find our more about a Hawaii Vacation or get Hawaii insider tips!