A bluefin tuna leaves cold Nova Scotia waters and ends at a sushi table in Tokyo, and along the way, Bite to Bite reveals the human machinery behind one of the world’s most coveted fish. Director Kelly Lipscomb joins In the Room to talk about making a documentary that lets the audience feel first, then decide what they believe.

We dig into the real “casting” of non-fiction, how you find characters worth following, how you earn trust, and why the edit is where the story finally confesses itself. Kelly also breaks down the practical truth of funding, why commercial work often keeps passion projects alive, and what it takes to keep your creative integrity intact while still building a sustainable career.

Bite to Bite received an Honorable Mention for Documentary Feature at the 2025 Austin Film Festival.

On this episode of In the Room, casting director John Williams sits down with filmmaker Andrew Davies Gaines to talk about Voices, his deeply personal documentary about his father and Las Vegas legend, Danny Gans.

Andrew shares how a career ending shoulder injury cut short his path in professional baseball and led him toward acting, writing, producing, and finally directing his own work. Together, he and John explore what it means to turn family history into cinema, how to handle sensitive truths about someone you love, and the realities of chronic pain, performance pressure, and responsibility at the top of the Vegas entertainment world.

Listeners will hear:
• The rise of Danny Gans, from corporate arenas to the biggest room in Las Vegas
• How Andrew moved from athlete to actor to producer to director
• The emotional challenge of putting himself on camera as the subject’s son
• The editing choices that kept Voices from becoming a simple tribute piece
• How understanding his father’s failures changed Andrew’s own relationship to ambition

In the Room offers a rare look at legacy, craft, and the quiet spaces where art and family collide.

Steven Bernstein sits with John Williams, Heather Kofka, and Christopher Shea for a luminous, craft-first conversation on the art of filmmaking. Bernstein traces his path from cinematography to the director’s chair, reflecting on Monster, Last Call, Decoding Annie Parker, White Chicks, Half Baked, SWAT, and Blade, and why the most enduring work begins with human chemistry.

They unpack the family that forms on set, the ache of wrap day, and how to protect performance when time and money press in. Bernstein explains why intuition often beats orthodoxy, how executives chase safety while art asks for risk, and why story should serve character, not the other way around. He shares practical tools for actors and directors, from freeing marks and lighting to invite truth, to building backstory that unlocks authentic choices.

The table dives into post control, color grading, and the quiet power of tone, then pivots to Bernstein’s novel GRQ and its meta leap to the screen. It is a talk about collaboration, presence, courage, and the strange alchemy that turns effort into feeling. If you love the work behind the work, this one is a masterclass that hums with lived experience.

Keywords: Steven Bernstein, filmmaking, cinematography, directing, acting craft, color grading, creative process, indie film, Monster, Last Call, Decoding Annie Parker, GRQ, John Williams, Heather Kofka, Christopher Shea, In the Room

Writer-director Todd Rohal and actor-filmmaker Tipper Newton join us to unpack the wild ride of “F My Son,” from adapting a taboo comic into a kinetic midnight movie to crafting practical effects with Robert Kurtzman. We discuss casting at the edges, protecting a child actor on set, navigating love-it or hate-it reactions, and why they chose a slow, theater-first rollout instead of streaming. Tipper shares the story behind her award-winning short “Wildcard” and plans for the feature. A candid conversation about risk, tone, and keeping creativity sovereign in a numbers-driven industry.

Key Topics:
• From transgressive comic to cinematic romp
• Practical effects, performance under prosthetics
• Festival premieres, audience response, review culture
• Ethics and logistics when working with a minor
• Booking a theater-only release city by city
• Tipper’s “Wildcard,” music, and making your own path

When writer-director Bryan Poyser decided to make a feature over winter break—with no finished script and a team of students—he had no idea it would premiere at Tribeca Film Festival.

In this episode of In the Room, host John Williams sits down with Poyser and actors Heather Kafka (The Leftovers, Friday Night Lights) and Justin Arnold (Spike Jonze’s Scenes from the Suburbs) to unpack how Leads came to life through collaboration, improvisation, and creative trust.

They discuss:

• Building a feature film without a script

• Balancing creative ambition with real life and financial limits

• The power of collaboration between directors, actors, and students

• Finding purpose and joy in the process—not just the result

An inspiring, candid conversation about risk, artistic integrity, and rediscovering love for the craft.

🎬 Leads premiered at Tribeca 2025 and screens next at the Hollywood Park Film Festival and Austin Film Festival.

A&E’s The Mother Flip is equal parts grit, design, and disciplined budgets. Best friends Kristy Etheredge and Rebecca Franchione take us inside the real playbook: sourcing distressed Hill Country properties, structuring all-cash deals, controlling scope, and sequencing trades to hit aggressive timelines. They explain how the show was sold, why every house is different, and how they manage contractors, permits, inspections, and materials without losing margin. We talk origin story (a literal napkin deal), learning the business from the ground up with contractor Roy Salinas, and the moments that proved the model works—new builds completed in 9–16 weeks and flips that moved in days. If you care about real estate ROI, design that sells, and production reality vs. reality TV, this one is a blueprint.

Topics: deal structure, budget allocation, permitting flow, trade scheduling, design decisions that move offers, managing risk on fast timelines, selling the show, and building a brand beyond the series.

Watch The Mother Flip: A&E Saturdays 9:00 a.m. CT; Hulu + Live TV Sundays; season on Amazon.

In this episode of In the Room, John Williams and guest co-host Joe Brundage sit down with Nirav Murthy, co-founder and co-CEO of Camp Network, to explore the future of intellectual property in the era of AI and blockchain.

Nirav breaks down how Camp Network is building infrastructure at the intersection of AI and IP, why blockchain matters for provenance and royalties, and how creators, actors, and producers can protect and monetize their work as AI models evolve.

We cover:

• The copyright fights ahead between AI and creators

• Blockchain for provenance and micro-royalty distribution

• Tokenizing IP, capital formation, and “provable fandom”

• AI-native content and what it means for actors, writers, musicians

• Why proof of humanity will matter in the next wave of media

In this episode of In the Room, hosts John Williams and Heather Kofka welcome filmmaker Ty McMahan and producer Brandon Kobs, the team behind the powerful new documentary 67 Bombs to Enid. With legendary documentarian Errol Morris as executive producer, the film sheds light on the Marshallese community in Enid, Oklahoma, displaced by U.S. nuclear testing in the Pacific, and the ongoing legacy of that history.

Ty and Brandon share how they uncovered the story, the challenges of balancing human focus with historical scale, and why the film has already caught the attention of the United Nations. The conversation also explores Oklahoma’s growing role in film production and the importance of local storytelling with global impact.

In the Room is where directors, writers, producers, and actors reveal what really goes on in casting and storytelling.