In this episode I’m thrilled to be joined by Luke Barnett to discuss our viral short film OVATION, made for just $50 over a two-hour shoot. The film satirizes the never-ending standing ovations at major festivals that have dominated the trades…
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PODCAST: DP’ing Jay Duplass’ New Feature THE BALTIMORONS With Filmmaker Jon Bregel
In this episode I’m joined by filmmaker Jon Bregel, who recently DP’d the new Jay Duplass feature film The…
PODCAST: Winning Kevin Smith’s Smodcastle with FOIBLES Writer / Director Ryan Oksenberg
In this episode I am joined by longtime friend and fellow filmmaker Ryan Oksenberg, here to break down…
PODCAST: Fundraising, Casting Without Names, and Writing the Iron-Core Story with Mick Lexington
In this episode filmmaker and novelist Mick Lexington joins me to unpack the development phase for his debut…
PODCAST: From Wu-Tang & Nicki Minaj Music Videos To A $40K Feature With Filmmaker Matthew Freiheit
In this episode, I am joined by filmmaker Matthew Freiheit, whose career has spanned work with major artists…
PODCAST: Directing a Vertical Series for Candy Jar, Feature Films & More With Filmmaker Emily Elizabeth Thomas
Filmmaker Emily Elizabeth Thomas joins me this week to break down the making of her debut feature film Keily:…
Action Plan To Greenlight Your Next Feature Film
If I could give one piece advice to an up and coming feature film director, it would be…
Just Work
Filmmaking can feel like an impossible journey. There’s a mountain to climb, and the further you step the…
Everything Good in Filmmaking Stems from Contrast
The longer I make films, the more I believe that so much of what makes movies great boils…
Why Successful Filmmakers Are Delusional
Every successful filmmaker I know shares one common trait: Optimism. No matter if it’s a director, producer, writer,…
7 Lessons I Learned From My Latest Feature Film
It’s been two years in the making, but our latest feature film Teacher’s Pet is finally complete and set to…
Eyelines vs. Eye Levels vs. Eye Trace
One of the first things you learn as a filmmaker is the 180 degree rule, which of course…
