Episodios

  • Film Pitches Suck But You Need One

    Film Pitches Suck But You Need One
    May 12 2025
    Would you like to build a pitch deck or one-sheet around your next idea?You said:
    Mention my film too
    ChatGPT said:
    Pitching a film is about telling a compelling story—quickly, clearly, and with purpose. It starts with identifying the emotional core of your project and leading with that. When I pitch, I always start with the hook—one line that captures attention—and then I build out just enough to paint the world and tone without losing momentum. With my film And On That Day, I leaned into the emotional weight of the story: a man haunted by a single moment that changed everything. That premise immediately told people it was a character-driven drama with emotional stakes—and that helped me lock in interest before diving deeper.Understanding who you're pitching to is just as important as understanding your own story. A producer who’s all about return on investment might need to hear about audience potential and comparable films, while a festival programmer wants to know how your film will move people. When I’ve pitched And On That Day, I’ve adapted the approach—sometimes highlighting its intimate style and awards potential, and other times emphasizing its stripped-down, gritty production value that makes it both powerful and budget-friendly. Having visual references like a mood board or a short teaser can also bring the story to life in ways words can’t.Lastly, I treat every pitch like a two-way conversation. The goal isn’t just to get someone to say “yes”—it’s to spark interest and create momentum. I listen, adjust, and respond honestly. During early pitches for And On That Day, I learned a lot just by letting people ask questions and seeing where they connected emotionally. That feedback helped me sharpen the way I talk about the film and even tweak the narrative slightly. When your passion is real and you’ve done the work, people can feel it—and that’s when a pitch really lands.Want to develop a solid pitch deck or a one-liner for your next project together?
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    26 m
  • Directing! Why Would Anyone Want To Do This!_

    Directing! Why Would Anyone Want To Do This!_
    May 10 2025
    Directing a film, for me, is about choosing the lens—literally and metaphorically—through which my story will be told. Sometimes I step into the role of a visionary, focusing on visual composition and mood. Other times, I’m deep in the trenches with the actors, working to unlock raw, authentic performances. With And On That Day, I found myself blending multiple approaches. There was a minimalist stillness in the park bench scene that allowed the emotion to breathe, and yet I also relied on structure and pacing to slowly reveal the story. I didn’t always plan for these angles—they emerged naturally—but looking back, I see how each one contributed to the final experience. I’ve learned that no single directing style is sacred. Flexibility is key. One moment I’m orchestrating a delicate emotional beat, the next I’m adapting to a lighting change or a location issue like a guerrilla filmmaker. That’s the beauty of directing—reading the energy on set and adjusting in real time. What made And On That Day special was how all these angles worked together to serve the story. Now, moving forward, I want to be more intentional with my choices—knowing when to trust instinct, when to lean into structure, and when to just let a scene breathe. 🎬 Three Things I’m Doing to Become a Better Filmmaker: 1. Watching films like a director, not just a fan. I analyze how scenes are shot, lit, blocked, and edited, and I think about how I would’ve approached them. 2. Rehearsing with actors more deeply. I’m spending more time exploring characters with the cast so that their performances feel lived-in from day one. 3. Shooting short scenes regularly. Even without a full production, I’m keeping myself sharp by filming quick scenes—testing new techniques, trying different styles, and learning from every frame.
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    27 m
  • Hey Actors!!! You're Responsible Too!!

    Hey Actors!!! You're Responsible Too!!
    May 8 2025
    An actor's responsibilities on set go far beyond just delivering lines. Professionalism is key—actors are expected to show up on time, be prepared with their lines memorized, and understand their character’s motivations and relationships within the story. This preparation helps maintain the production schedule and shows respect for the cast and crew’s time. Being mentally and emotionally present during takes is also critical, as it allows for the best performances and keeps the creative energy flowing smoothly.
    Collaboration is another major responsibility. Filmmaking is a team effort, and actors must be willing to listen to the director’s guidance, adjust their performances as needed, and interact respectfully with fellow actors and crew members. Creating a positive working environment helps everyone stay focused and boosts morale. Actors should also be mindful of continuity and blocking, which are crucial for the visual and narrative consistency of a scene. Here are three key "what to do's" for actors on set: 1. Be prepared – Know your lines, understand your character, and come to set ready to work. 2. Respect the process – Be punctual, follow direction, and maintain a positive, cooperative attitude. 3. Stay present and aware – Pay attention to your surroundings, including camera positioning, lighting cues, and scene continuity to avoid costly reshoots.
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    25 m
  • Stealing From The Classics!? How Dare You?!

    Stealing From The Classics!? How Dare You?!
    May 8 2025
    Here’s a list of 5 big budget great classic films and 5 low-budget classic to study. Studying classic films is essential for directors because these works serve as foundational blueprints for cinematic storytelling. They showcase the evolution of visual language, editing techniques, and narrative structures that continue to influence modern filmmaking. Directors like Hitchcock, Welles, and Kurosawa mastered the use of camera movement, lighting, and composition to convey emotion and meaning—tools that remain vital for any filmmaker. By analyzing these techniques, modern directors can build on what has worked, understand the roots of cinematic language, and develop a more refined visual and narrative style. Moreover, classic films often reflect the cultural, social, and political climates of their time, offering directors rich context and inspiration for crafting meaningful stories. These films pushed the boundaries of what was possible in their eras, demonstrating innovation under constraints—whether technological, budgetary, or societal. By studying how past filmmakers overcame challenges and communicated universal themes, directors today gain not only technical insight but also a deeper appreciation for storytelling as a powerful, enduring art form. Classic films are more than just historical artifacts—they're creative roadmaps that help directors find their unique voice.
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    28 m
  • You Don't Need A Method! WAIT!! YES YOU DO!! NO!! HUH!!??

    You Don't Need A Method! WAIT!! YES YOU DO!! NO!! HUH!!??
    May 8 2025
    Here are three acting techniques and how a director can approach working with actors using each method in a film setting: 1. Method Acting (Stanislavski/Strasberg-based): Method acting involves the actor tapping into personal memories and emotions to inhabit the character fully. This immersive technique creates performances that are emotionally raw and authentic. As a director, guiding a Method actor requires patience and sensitivity. Create a safe, supportive environment on set and give the actor space to connect emotionally before intense scenes. Avoid over-rehearsing dramatic moments—let them unfold organically during takes. Encourage private exploration of the character's backstory but maintain boundaries to prevent emotional burnout. 2. Meisner Technique: The Meisner Technique focuses on truthful, spontaneous reactions rooted in the moment, often through repetition exercises and partner work. When directing Meisner-trained actors, it’s crucial to keep the energy alive and flowing between performers. Prioritize blocking that allows interaction and eye contact, rather than static positioning. Keep the camera rolling for longer takes, allowing naturalistic rhythms to emerge. Direct feedback should focus on the emotional truth of the moment rather than line readings—your job is to protect the actor’s instinctual responses and ensure they serve the story. 3. Classical/Technical Acting: Classical acting, rooted in Shakespearean and stage tradition, emphasizes control of voice, body, and timing. These actors are often trained to analyze text, articulate clearly, and use physicality deliberately. On film, directing classically trained actors means helping them scale down their performance for the camera. Encourage subtlety—smaller facial movements, quieter vocal delivery—while still maintaining their clarity and intent. Use close-ups strategically, and help them understand the lens as their new “audience.” Rehearsals can focus on cadence, breath, and blocking to ensure the performance translates with the desired intensity on screen.
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    27 m
  • I Paid $50 to Get Rejected...So What?! Wanna FIGHT!? ;)

    I Paid $50 to Get Rejected...So What?! Wanna FIGHT!? ;)
    May 6 2025
    Film festivals can be exhilarating experiences, offering filmmakers the chance to showcase their work to new audiences, gain critical recognition, and connect with industry professionals. When they go well, festivals serve as springboards for distribution deals, press coverage, and even future funding. There's also the electric atmosphere of being surrounded by other passionate creatives, where ideas flow freely and the energy of storytelling is celebrated. A great festival gives your project credibility and opens doors that might otherwise remain shut.
    On the flip side, not all festivals deliver what they promise. Some are poorly organized, sparsely attended, or charge hefty submission fees without offering real value. A filmmaker might travel hundreds of miles only to discover that their film is screened at an inconvenient hour to a nearly empty room. In these cases, the experience can feel more like a money grab than a celebration of art. While every screening has some value, the wrong festival can sap your enthusiasm, waste your time, and leave you questioning your next move. 3 Ways to Use Film Festivals Effectively: 1. Network Strategically: Don’t just attend your screening—attend panels, mixers, and meet-ups. Bring business cards and a short pitch about your film. Your next collaborator or investor might be in the room. 2. Build Social Proof: Use photos, laurels, and festival selections in your marketing. Even a small festival adds credibility, and you can highlight awards and nominations across social media and your website. 3. Leverage Local Press: Reach out to local media where the festival is being held. A story about your journey or your film’s theme can generate buzz and attract more attendees—and maybe even industry eyes.
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    28 m
  • “The Power of Finishing Ugly: Why Done is Better Than Perfect in Filmmaking”

    “The Power of Finishing Ugly: Why Done is Better Than Perfect in Filmmaking”
    May 6 2025
    There’s a myth in filmmaking that your project has to be flawless before it’s worth sharing. That myth has paralyzed countless talented creatives who sit on scripts, edits, or entire films, endlessly tweaking and doubting. But the truth is this: done is better than perfect. The power of finishing—even if it’s “ugly”—is one of the most underrated tools a filmmaker has. With “And On That Day,” I faced major challenges—budget limitations, losing locations, having to rework key scenes, and even recasting roles last minute. But I made the decision to finish it, no matter what.
    And let me tell you, finishing wasn’t easy. There were moments I wanted to walk away. There were editing days where nothing felt right. But I kept going. Why? Because once a film is finished—even if it’s not everything you imagined—it becomes real. It breathes. It teaches. “And On That Day” ended up screening at festivals like Manhattan, Tennessee, and Golden Door. Not because it was a perfect film, but because I followed through. I let it live. And in doing so, I grew—not just as a filmmaker, but as a storyteller who could push through chaos and still create something meaningful.
    So if you’re stuck, wondering if your film is “ready,” remember this: Ready is a lie we tell ourselves to delay the uncomfortable truth—it’s fear. Finish the film. Share it. Let it be messy. Let it be raw. But let it be. Because people won’t connect with your perfection. They’ll connect with your persistence, your passion, and your courage to finish ugly.
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    26 m
  • Sequels, Reboots, and CGI-Driven Spectacles! STOP IT!!!

    Sequels, Reboots, and CGI-Driven Spectacles! STOP IT!!!
    May 1 2025
    In an industry often dominated by sequels, reboots, and CGI-driven spectacles, a quiet revolution has been taking place—one that signals the triumphant return of authentic storytelling in cinema. Audiences, perhaps fatigued by formulaic blockbusters, are gravitating toward films that offer originality, emotional resonance, and character-driven narratives. Two standout examples of this shift are Everything Everywhere All At Once and The Holdovers, both of which not only broke through the noise with fresh perspectives but also achieved critical and commercial success. These films remind us that, at its core, cinema is still a storyteller’s art. In recent years, storytelling has made a powerful return to the forefront of filmmaking, as audiences increasingly crave narratives with emotional depth, originality, and character-driven arcs. This shift marks a departure from the heavy reliance on sequels, reboots, and CGI-heavy spectacles. Films like Everything Everywhere All At Once (2022) exemplify this trend, blending sci-fi, drama, and absurdist comedy to tell a profoundly human story about identity, family, and purpose. Made on a relatively modest budget, the film became a surprise box office success and swept the 2023 Oscars, winning Best Picture, Best Director, and multiple acting awards—proving that originality and storytelling can resonate deeply with global audiences. Another standout is The Holdovers (2023), directed by Alexander Payne, which brought audiences a warm, character-focused holiday film that felt both classic and refreshing. Featuring Paul Giamatti in a quietly powerful role, the movie earned critical acclaim and audience admiration for its sharp writing, emotional sincerity, and timeless themes of loneliness and connection. Both films succeeded not by relying on massive franchises or flashy effects but by embracing authentic storytelling—demonstrating that well-crafted, original narratives can still captivate audiences and achieve both critical and commercial success.
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    24 m
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