Low-Budget Rebels: An Indie Filmmaking Podcast

Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re digging into one of the most intimidating — and most rewarding — parts of indie filmmaking: working with actors. When you’re making movies with tiny budgets, tight schedules, and often first-time performers, directing performances becomes less about “perfection” and more about trust, communication, and creating an environment where people feel safe to try things. This week’s guests share how they’ve learned to guide performances, build confidence, and get honest, compelling work from actors under low-budget conditions.We kick things off with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan reflects on making movies with his friends as a kid and how those early experiments taught him what kinds of performances you can realistically get from people. He opens up about the fear of stepping in front of the camera himself and carrying a film as a performer, and how learning to act gave him empathy for what actors go through. Dan also talks about the unique challenges of directing performances within an improvisational style, where structure and freedom have to exist at the same time.Next up, Nick Psinakis, co-director of Cheat and Valley View Motel, breaks down how studying acting changed the way he directs. Nick shares how learning performance from the inside helped him communicate more clearly with actors, listen more closely, and build real relationships with his cast. We talk about techniques for getting organic, natural performances on set, and how often actors will surprise you when you give them the space and trust to bring their own instincts into a scene.Then Joe Sherlock, the mind behind Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films, talks about his approach to finding and working with actors. Joe dives into the importance of being upfront about the kinds of movies you’re making and the tone you’re going for, so the people who show up are aligned with the vision. He shares how openness and communication lead to better buy-in from the cast, and how being honest about the limitations of a low-budget production helps actors give you their best work instead of feeling misled or frustrated.Finally, Sean Ashley (R.S. Trashley), director of the Homicide McLeod films and producer of Get That Dick, talks about finding talent through festivals and community. Sean reflects on meeting incredible actors through the Atlanta film scene, including collaborations that came directly from simply showing up and engaging with people. We dig into the anxiety of bringing new talent onto a project, not knowing what they’ll bring to the table, and the techniques he uses to steer performances without crushing what makes an actor unique.This episode is all about trust, communication, and empathy — learning how to meet actors where they are, especially when you’re working with first-timers or friends who are learning alongside you. It’s a reminder that great performances don’t come from control. They come from collaboration.Thank you so much for supporting Low-Budget Rebels. Your support keeps these conversations ad free and helps us keep bringing real, honest filmmaking discussions to the table. If you’re not already a member, you can join us at patreon.com/flushstudios.And don’t forget to follow and support this episode’s incredible guests:Dan Lotz – Chlorine, The Long Con, Sheep TheaterNick Psinakis – Cheat, Valley View MotelJoe Sherlock – Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, Weird House filmsR.S. Trashley (Sean Ashley) – Homicide McLeod films, Get That DickMore fearless filmmaking conversations are on the way. Stay scrappy, keep learning, and stay rebellious.Cheers,Josh

🎬 Welcome back, Rebels!On this episode of Low-Budget Rebels, we’re swapping theory for survival stories. This week is all about war stories from production — the moments where everything goes sideways, emotions run high, plans fall apart, and somehow the movie still gets made. These are the stories you don’t hear in film school, but the ones that actually teach you how to endure this craft.Every filmmaker has them. The days where the problem isn’t the shot list or the budget, but life, weather, people, or pure chaos. This episode is about how you respond when the plan breaks — and how resilience, adaptability, and stubbornness become your most valuable tools.We kick things off with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan opens up about losing his father during production and how that loss deeply affected the work. He talks honestly about grief colliding with responsibility, and the emotional weight of trying to keep a project moving forward while processing something that life-altering. Dan also dives into the unseen toll of visual effects-heavy projects, breaking down how ambitious VFX work can quietly multiply the workload in ways most people never realize until they’re buried in it.Next, Nick Psinakis, co-director of Cheat and Valley View Motel, shares how something as uncontrollable as snow completely reshaped his production. Locations had to change. Plans had to be thrown out. Expectations had to shift. What started as an obstacle turned into a defining element of the film’s atmosphere. Nick talks about staying mentally prepared for the fact that anything can go wrong at any moment — and how that mindset allows you to pivot instead of panic.Then we hear from Joe Sherlock, known for the Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films, who brings the wildest stories of the episode. Joe recounts how filming in public spaces with an ape mask led to a hilariously chaotic misadventure, including the very real possibility of law enforcement involvement. He talks about having the cops called on productions, the importance of adaptability, and how filming multiple projects around the same locations can turn a stressful situation into an opportunity if you’re willing to think fast and shoot smarter.Finally, R.S. Trashley, director of the Homicide McLeod films and producer of Get That Dick, breaks down the slow burn of production chaos. Not one big disaster, but a constant stream of small things going wrong. He talks about learning to move forward through frustration, recognizing when to stop fighting circumstances, and making peace with the idea that finishing the project matters more than perfection. For him, persistence isn’t glamorous, but it’s essential.This episode is about endurance. About finishing when it hurts. About adapting when nothing goes according to plan. And about understanding that the scars you earn on set are often the ones that shape you into a better filmmaker.Huge thanks to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays ad-free and honest, with room for real conversations about the hard parts of making movies. If you’re not already part of the community, you can join us at patreon.com/flushstudios.More hard-earned lessons are coming.Cheers,Josh

🎬 Welcome back, Rebels!In this week’s episode of Low-Budget Rebels, we dig into something that doesn’t get talked about nearly enough: knowing your strengths as a filmmaker and building your process around them. Not every director works the same way, and that’s the point. The key isn’t forcing yourself into someone else’s workflow, but recognizing what you’re good at and leaning into it hard.This episode is all about self-awareness, trust, and momentum. How do you make movies in a way that actually works for you? And how do you turn your instincts, habits, and even your chaos into creative advantages?We start with Dan Lotz, director of Chlorine, The Long Con, and Sheep Theater. Dan talks about embracing an improvisational mindset as a director. Figuring things out on the fly, experimenting, staying loose, and allowing raw filmmaking instincts to guide the work. Instead of locking himself into rigid plans, Dan finds strength in adaptability and discovery, letting the movie reveal itself during production.Next up is Nick Psinakis, co-director of Cheat and Valley View Motel, who brings a counterbalance to that approach. Nick dives into the power of planning ahead and the importance of working with a creative partner who has your back. He talks about building projects through collaboration, trust, and preparation, and how balancing ideas with a teammate can turn limitations into structure instead of stress.Then we’re joined by Joe Sherlock, known for the Trailer Park Double Wide Trilogy of Terror, The Haunting of Heather Black, and the Weird House films. Joe breaks down one of his greatest strengths: finishing things. He talks about harnessing his night-owl energy, working late when the world is quiet, and using drawing as part of his creative process to stay focused and aligned. For Joe, motivation mixed with a refusal to leave projects unfinished is what keeps his films moving forward.Finally, Sean Ashley (R.S. Trashley), director of the Homicide McLeod films and producer of Get That Dick, talks about trusting himself. Trusting his gut. Trusting his vision. And learning how to trust the visions of others as well. Sean embraces the madness of collaboration, the chaos of team-based filmmaking, and the beauty that comes from letting that energy become a strength instead of something to control or fear.This episode is a reminder that there is no single “correct” way to make a movie. Your strengths are personal. Your process should be too. When you understand how you work best, you stop fighting yourself and start finishing stronger films.A huge thank you to everyone supporting Flush Studios on Patreon. Because of you, Low-Budget Rebels stays completely ad-free here, with space for longer, more honest conversations about what it really takes to make movies independently. If you’re not already a member, head to patreon.com/flushstudios to join and support the show.More real, messy, and meaningful filmmaking conversations are on the way.Cheers,Josh

🎬 Welcome back, Rebels! Today’s episode of Low-Budget Rebels tackles one of the biggest, most confusing, and most career-defining decisions indie filmmakers face: What the hell do you do with your movie once it’s finished? Do you take the festival route and hope the right people notice? Or do you skip the gatekeepers entirely and push your film straight to the audience that actually wants it? There isn’t a universal “correct” answer — but there are smart ways to evaluate your options. And today’s guests bring a wealth of real-world experience to help you figure out which path is truly right for your film. We kick things off with Taylor Morden, director of The Last Blockbuster, Getting Lost, and Bampire. Taylor lays out something that not enough filmmakers talk about: not every movie is meant for every release strategy. Different types of films thrive in different environments, and knowing your film’s identity early can save you pain and money later. Taylor digs into how he starts thinking about distribution before he even commits to a project — how the tone, subject matter, and intended audience can shape whether a film belongs on the festival circuit, in niche streaming spaces, or in the hands of fans as soon as possible. Next up, Alejandro Montoya Marin, the mind behind Monday, Millennium Bugs, and The Unexpecteds, shares how community, relationships, and momentum play into distribution decisions. Alejandro talks about the emotional side of releasing a film, the importance of building a loyal fanbase, and how festivals can be part of a larger ecosystem — not the only metric of success. Then Christopher Fox, director of Rub and My Father’s Echo, brings in a vital perspective on the business side: distribution red flags. We break down the bad deals, the traps hidden in contracts, and the promises distributors love to make but rarely deliver. Christopher offers invaluable insight into protecting your film, your rights, and your long-term career by recognizing when a deal simply isn’t worth it. Finally, Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series, talks about choosing a completely different path — skipping festivals altogether. Aaron dives into how YouTube, Filmhub, social media, and a direct connection to viewers can create more impact than a traditional festival run. He shares how building your own audience, controlling your release, and understanding modern viewing habits can turn a low-budget film into a real career stepping stone. For filmmakers who feel shut out of festivals or simply uninterested in that route, Aaron offers a roadmap that’s refreshingly honest and achievable. This episode is all about clarity and empowerment. Whether you’re chasing laurels or bypassing them entirely, the goal is the same: find the path that aligns with your film, your resources, and your long-term creative goals. And a huge thank you to everyone supporting Flush Studios on Patreon. Thanks to you, these episodes stay completely ad-free over there, allowing for deeper, uninterrupted conversations about the realities of indie filmmaking.If you’re not already part of the community, you can join at patreon.com/flushstudios for early access, bonus content, and a direct line into the rebellion. More fearless filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious. Cheers,Josh

🎬 Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re exploring one of the most essential — and most personal — parts of indie filmmaking: building your film family. Cameras, lights, gear… those things matter. But nothing shapes a movie more than the people you choose to make it with. Your cast. Your crew. Your collaborators. Your circle.This week, we’re breaking down what it really takes to create a trusted, long-term team and how to nurture those relationships so your film family grows stronger with every project.We kick things off with Alejandro Montoya Marin (Monday, Millennium Bugs, The Unexpecteds), who dives into the power of playfulness on set. For Alejandro, filmmaking isn’t just work. It’s a shared addiction to creativity. He talks about keeping the environment fun, collaborative, and alive, because the best film families grow out of joy, not stress. If people love being there, they’ll keep coming back.Next, Taylor Morden (The Last Blockbuster, Getting Lost, Bampire) discusses the value of building community from the ground up. Taylor’s all about finding the people in your town, your scene, your orbit who not only want to help you make films but want to help build the actual film community with you. It’s about creating a circle that lifts each other up, project after project.Then we talk with Christopher Fox (Rub, My Father’s Echo), who breaks down the importance of bringing in collaborators who aren’t above rolling up their sleeves on a low-budget project. Christopher shares how giving people creative freedom and treating them like true collaborators fosters loyalty and how that respect keeps them coming back film after film.Finally, Aaron Carlson (The Outrider, The Horrorverse Fan Film Series) shares his perspective on long-term creative relationships: water them. Treat people with respect, nurture those connections, and let them blossom naturally. Aaron talks about how kindness and professionalism build bonds stronger than any contract and how people who don't meld with the flow of your projects will naturally fall away.This episode digs into the heart of filmmaking: trust, consistency, communication, investment, and genuine connection. How do you choose who belongs in your circle? How do you build trust with new collaborators? How do you keep relationships alive between projects? And what happens when someone no longer fits the family?Your support makes these episodes possible — thank you for being part of this growing, rebellious community. If you’re not a member yet and want ad-free episodes plus bonus conversations, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Alejandro Montoya Marin – Monday, Millennium Bugs, The UnexpectedsTaylor Morden – The Last Blockbuster, Getting Lost, BampireChristopher Fox – Rub, My Father’s EchoAaron Carlson – The Outrider, The Horrorverse Fan Film SeriesMore bold, independent filmmaking conversations are on the way . Stay tuned, keep creating, and stay rebellious.Cheers,Josh

🎬 Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re diving into one of the most essential — and often overlooked — parts of indie filmmaking: finding the shot. Whether you’re working with a full crew or flying solo, every decision behind the camera shapes the story you’re telling. This week’s guests share how planning, collaboration, and spontaneity all come together to create the visual language of a film.We start with Max Remmler, director of 4 Clones Alone, who breaks down the challenges of filming himself and working with an incredibly small crew. He talks about how storyboards changed his approach to production, and how being deliberate about shot planning can still leave room for discovery on set.Then, Traci and Jon Russell Cring, the team behind Little Bi Peep, The Night We Met, and Sky Valley, talk about the delicate balance between capturing the perfect shot and getting the right performance. They share why doing a thorough breakdown before filming is key to staying organized and creative when it’s time to roll.Next up, Ricky Glore, writer and director of Sweet Meats and Casually Cool!, opens up about working with trusted collaborators — friends who know how to communicate and understand his creative instincts. That trust, he says, is what ensures he always gets the shots he needs without second-guessing the process.Finally, Mitch McLeod, director of Silhouette and Marrow, dives into how a detailed shotlist keeps his productions efficient and focused. He talks about identifying where coverage is crucial, planning the “fun” shots, and the energy that comes alive on set when everything comes together to nail the perfect frame.This episode is all about collaboration, intuition, and the craft of building your movie one shot at a time — a reminder that even the smallest setups can lead to the biggest cinematic moments.Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky ValleyMax Remmler – 4 Clones AloneRicky Glore – Sweet Meats, Casually Cool!Mitch McLeod – Silhouette, MarrowMore bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.Cheers,Josh

🎬 New Low-Budget Rebels Episode: The Art of Marketing Your Indie FilmHey Rebels!In this week’s episode, I’m joined by some amazing filmmakers to dig deep into one of the hardest parts of indie filmmaking — getting people to actually watch your movie.• Traci and Jon Russell Cring talk about how filmmakers can get creative with marketing, involve their audiences in promotion, and use their unique voice as a selling point to build real connections and get people out to screenings.• Max Remmler dives into the power of titles and posters — how small changes can make your film more accessible, memorable, and easier for audiences to find.• Ricky Glore shares the success and failures of attempting to take his movie on tour with Troma, booking screenings across indie theaters, and finding the right balance between appealing to a specific genre while still telling your own story.• Mitch McLeod and I wrap things up by discussing festival strategy, how to engage people to leave reviews, and experimenting on social media in ways that actually get attention.Every one of these conversations is packed with honest, practical insight — the kind of stuff that helps filmmakers like us not just make movies, but get them seen.Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky ValleyMax Remmler – 4 Clones AloneRicky Glore – Sweet Meats, and go check out the IndieGoGo for Casually Cool!Mitch McLeod – Silhouette, MarrowMore bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.Cheers,Josh

🎬 Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re digging into one of the most crucial — and often overlooked — parts of filmmaking: building your audience. Making a great film is only half the battle; finding the people who’ll connect with it, share it, and keep you creating is the real challenge. Today’s guests open up about how they discovered their audiences, how their expectations changed once the film was finished, and how that process shapes what they make next.First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about making the movie for yourself first — and then realizing your audience might be completely different than you imagined. We discuss learning to pivot, finding where your film truly belongs, and navigating both distribution companies and self-distribution paths.Next, Trenton Judson, director of Bad B*tch, joins me to talk about trusting your gut. He dives into making the kind of films he personally loves and having faith that others out there share that same weird, passionate taste.Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to explore how feedback from your audience — whether it’s festival screenings, reviews, or critiques — can evolve your film even after it’s finished. We also talk about why festivals are such an essential way to grow your audience and get the word-of-mouth rolling.Finally, Dennis Cahlo, director of The Trouble with Tessa, discusses how knowing your distributor or target audience early on can shape how you build the film itself — from tone to genre to marketing. He also shares how trusted viewers giving notes can influence the artistic decisions you make in the final cut.This episode is all about connection — finding the people who get what you’re doing and using that energy to keep creating, growing, and getting your work seen.Thank you so much for supporting Low-Budget Rebels! Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Jason Zink – Looky-LooTrenton Judson – Bad B*tchJaysen Buterin – Kill GigglesDennis Cahlo – The Trouble with TessaMore conversations with bold, independent filmmakers are on the way — stay tuned, keep creating, and stay rebellious.Cheers,Josh

Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re digging into one of the most transformative stages of filmmaking: editing. When you finally sit down with your footage, the real story emerges — tone, pace, and emotion all come together in the cut. Today’s guests share how they approach the edit as both a creative playground and a problem-solving tool, shaping their films into their strongest possible versions.First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about the meticulous planning required for found footage films and how to make sure the edit feels authentically first-person while still telling a compelling story.Next, Trenton Judson, director of Bad B*tch, joins me to discuss analyzing your footage with a critical eye — what to cut, what to keep, and how studying other films can guide your tone. We also dive into choosing takes for action sequences and effects shots, and the tough decisions that come with shaping a final cut.Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to talk about layering your film in post — from score and color to sound design — and the importance of trusting your editor to understand and elevate your vision.Finally, Dennis Cahlo, director of The Trouble with Tessa, shares why having a fresh set of eyes on your cut can be invaluable. We also discuss finding the right tone during production so that color, mood, and performance all translate seamlessly into the edit.This episode is all about seeing your film anew in the editing room — finding its true shape, refining its tone, and discovering the story you’re really telling.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Jason Zink – Looky-LooTrenton Judson – Bad B*tchJaysen Buterin – Kill GigglesDennis Cahlo – The Trouble with TessaStay tuned for more conversation about the craft of low-budget filmmaking, keep kicking ass, making art, and stay rebellious.Cheers,Josh

Welcome back, Rebels!In this episode of Low-Budget Rebels, we’re diving into one of the most crucial parts of indie filmmaking: working fast and smart on set. When time and money are tight, preparation, communication, and creativity become the tools that keep your project alive. Today’s guests share how they maximize efficiency, adapt when things go wrong, and keep their sets moving without losing the heart of their films.First up, I talk with Dennis Cahlo, director of The Trouble with Tessa, about the importance of communicating clearly with your crew and collaborators, knowing where you need help, and finding the right people who can elevate your vision.Then I sit down with Jaysen Buterin, writer and director of Kill Giggles, to dig into the value of walkthroughs, prepping your blocking, and setting an atmosphere that keeps your cast and crew sharp, energized, and creative.Next, Trenton Judson, director of Bad B*tch, joins me to talk about what to do when things go wrong on set, how to pivot quickly, and why casting people who understand the objective of the film can save precious time.Finally, I chat with Jason Zink, the filmmaker behind Looky-Loo, about embracing the edit while shooting, discovering the good in the moment, and using subtle nuances to enhance the film in ways only low-budget filmmaking can offer.This episode is all about efficiency, adaptability, and keeping your creative energy flowing no matter the challenges. With the right mindset and preparation, you can make every day on set count — and make your film shine.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Dennis Cahlo – The Trouble with TessaJaysen Buterin – Kill GigglesTrenton Judson – Bad B*tchJason Zink – Looky-LooMore conversations with bold, independent filmmakers are on the way — stay tuned, and stay rebellious.Cheers,Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re tackling one of the most important skills in indie filmmaking: building a film around what you have.From choosing the right location to balancing ambition with practicality, today’s guests share how they shape their movies by leaning into their resources — not fighting against them. We talk about making the most of time and space on set, finding creative solutions when money is tight, and how passion fuels projects when budgets can’t.First up, I talk with Trenton Judson, director of Bad B*tch, about the realities of using your environment as a character in itself and how limitations can fuel creativity.Then Dennis Cahlo, director of The Trouble with Tessa, joins me to discuss building projects around accessibility, collaboration, and letting necessity inspire story choices.Next, I sit down with Jason Zink, the filmmaker behind Looky-Loo, to dig into how he embraces small resources to tell big stories and why scaling to your means can actually improve your film.Finally, Jaysen Buterin, writer and director of Kill Giggles, talks about tailoring your script to what you have in front of you, avoiding wasted time on set, and keeping the vision intact while staying realistic.This episode is all about turning limitations into strengths and showing that with the right mindset, passion, and creativity, you can craft something unforgettable without waiting for a big budget.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:Trenton Judson – Bad B*tchDennis Cahlo – The Trouble with TessaJason Zink – Looky-LooJaysen Buterin – Kill GigglesMore conversations with bold, independent filmmakers are on the way — stay tuned, and stay rebellious. Cheers,Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re focusing on one of the most visually exciting — and challenging — parts of filmmaking: finding the best shots. From building a shot list to collaborating with your DP, blocking scenes, and adapting on the fly, today’s guests share how they craft compelling visuals while navigating the constraints of indie filmmaking.First up, I talk with Alex Kahuam about his approach to planning and executing shots for his single-take thriller Failure. We dig into the preparation needed to make every frame count, how to coordinate with your DP under pressure, and why flexibility is crucial when perfection isn’t possible.Next, Spooky Madison joins me to discuss her process for blocking actors with the camera in mind, and how she works with her DP to bring energy and personality to every setup. We also talk about making creative decisions on the fly while keeping the film’s visual tone consistent.Then I’m joined by Dillon Brown, who shares how he approaches shot planning for found footage horror. Dillon breaks down the delicate balance between “planned chaos” and true improvisation, and how letting the camera feel like part of the world heightens tension and realism.Finally, I wrap the episode with Michael Pierro, director of Self Driver. Michael talks about the logistics of running and gunning in small spaces, the importance of efficiency when building a shot list, and finding creative solutions when the perfect shot isn’t possible.This episode is all about the visual side of storytelling — blocking, working with your DP, adapting under pressure, and making the most of your time on set to capture the shots that will make your story shine.Thank you so much for supporting Low-Budget Rebels. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join.And be sure to follow and support this episode’s amazing guests:Alex Kahuam – kahuamfilms.com | @alexkahuamSpooky Madison – @finalghoulfilms | Final Ghoul on YouTubeDillon Brown – @horrornerdproductions | Films on Tubi and AmazonMichael Pierro – @m_pierroMore conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious.Cheers,Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re digging into the heart of filmmaking — directing actors and finding authentic performances. From casting the right people to running rehearsals, to supporting your cast through the challenges of shoot days, today’s guests share how they create the conditions for great performances, even on limited budgets. First up, I talk with Alex Kahuam about his approach to working with actors on his single-take thriller Failure. We get into the unique challenges of one-take filmmaking, how to keep performances consistent over long stretches, and how to give actors the confidence to take risks. Next, Spooky Madison joins me to discuss building trust with your cast, creating a comfortable environment, and allowing for collaboration while keeping the tone of the film intact. We also talk about how rehearsal can open the door for unexpected discoveries on set. Then I’m joined by Dillon Brown, who shares how he approaches directing actors in found footage films, where improvisation and naturalistic performances are key. Dillon talks about creating believable tension without over-directing and letting his cast lean into their instincts. Finally, I wrap the episode with Michael Pierro, director of Self Driver. Michael shares his process for casting actors who can bring authenticity to heightened sci-fi situations, as well as strategies for helping performers adapt quickly in tight shooting schedules and small locations. This episode is all about the director–actor relationship — casting, rehearsals, on-set communication, and creating the space for great performances that serve the story. Thank you so much for supporting Low-Budget Rebels. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join. And be sure to follow and support this episode’s amazing guests: Alex Kahuam – kahuamfilms.com | @alexkahuamSpooky Madison – @finalghoulfilms | Final Ghoul on YouTubeDillon Brown – @horrornerdproductions | Films on Tubi and AmazonMichael Pierro – @m_pierro More conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious. Cheers,Josh

Welcome back, Rebels! In this episode of Low-Budget Rebels, we’re diving into a part of filmmaking that’s often overlooked but absolutely essential — sound design. From capturing clean dialogue on set to mixing score and building tension through sound, this week’s guests share how they approach audio on tight schedules and tighter budgets. First up, I talk with Spooky Madison about building strong communication with your sound team and being aware of audio issues before they become problems. We also discuss what it’s like to mix and master your own projects early on, and how that DIY mindset can give you more control and creative freedom. Next, I’m joined by Alex Kahuam, who breaks down how he captured clean audio during the intense, one-take production of Failure. We also dig into the role of score in storytelling, and how music can shape the emotional rhythm of a film when used with intention. Then I sit down with Dillon Brown to talk about sound design in found footage horror. Dillon shares how using directional audio and tonal shifts can heighten scares, build tension, and sell the realism of a scene — especially when you’re working with minimal visual effects or coverage. Finally, I wrap the episode with Michael Pierro, director of Self Driver. We talk about the importance of planning ahead to capture usable sound in tight locations and fast shoots, as well as the creative side of post — including recording foley and maintaining consistency across a film’s soundscape. This episode touches on everything from prepping for sound on set to mixing score, creating tone, and layering foley, showing how much audio influences the final product — and how indie filmmakers can use sound to elevate their work, even on a budget. Thank you so much for supporting Low-Budget Rebels.Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join. And be sure to follow and support this episode’s amazing guests:Alex Kahuam – kahuamfilms.com | @alexkahuamSpooky Madison – @finalghoulfilms | Final Ghoul on YouTubeDillon Brown – @horrornerdproductions | Films on Tubi and AmazonMichael Pierro – @m_pierroMore conversations with bold, independent filmmakers are coming your way this season — stay tuned, and stay rebellious. Cheers,Josh

Welcome back, Rebels! We’re kicking off Season 6 with a deep conversation about finding your genre, defining your storytelling process, and building creative momentum even when things get tough. I’m joined by four incredible filmmakers — each with a unique approach to writing, directing, and creating personal, impactful films on a budget.First up is Alex Kahuam, director of Forgiveness and the one-take thriller Failure, starring Ted Raimi. Alex and I talk about choosing a subject that resonates deeply, especially when you know you’ll be living with it through the entire filmmaking process. Then I’m joined by Spooky Madison, an actress, writer, and director whose upcoming film Fiber Burn and writing on What’s Wrong Wendy reflect her collaborative, music-driven approach. We discuss how writing in a freeform way can open the door to on-set discoveries, creative rewrites, and trusting the interpretations of your cast and crew. Next is Dillon Brown, the filmmaker behind the Tahoe Joe series and The Summer We Died. He shares how he outlines found footage films, sticks to personal genre instincts, and navigates the pressures of creating in an age of instant online reactions and reviews. We also talk about staying true to your voice while making something entertaining and marketable. Finally, I wrap the episode with Michael Pierro, director of Self Driver, a low-budget sci-fi thriller that recently won awards at Fantasia Fest. Michael and I dig into how life experience and personal ideals shape story structure, how to follow a creative framework while breaking rules when necessary, and how to balance audience appeal with originality.Some of the big themes that came up throughout this episode include choosing a genre that speaks to you, writing with flexibility and openness to collaboration, rehearsal techniques and directing performance, planning complex shots and long takes, and making films that are both personal and marketable.Thank you so much for supporting Low-Budget Rebels here on Patreon. Your support helps keep the show going and gives you access to these episodes completely ad-free. If you’re not already a member, head to patreon.com/flushstudios to join.And be sure to follow and support this episode’s amazing guests:Alex Kahuam – kahuamfilms.com | @alexkahuamSpooky Madison – @finalghoulfilms | Final Ghoul on YouTubeDillon Brown – @horrornerproductions | Films on Tubi and AmazonMichael Pierro – @m_pierroMore conversations with bold, independent filmmakers coming your way this season — stay tuned, and stay rebellious.Cheers,Josh

🎙️ This Week on Low-Budget RebelsMy good pal and co-conspirator, Sean Ashley, aka R. S. Trashley, joined me to talk about his latest films, Old Man Slaughter and El Ron.We also talked about what's happened since our first conversation way back in July of 2019, how to get your movie in a theater, the challenges of pulling together a community, and the process of working collaboratively with your peers on a set.Check out Sean's Homicide McLeod at https://www.homicidemcleod.com/ and follow Sean at @rstrashley on Instagram!From the bottom of my heart, thank you to everyone who has supported this show in season 5! Talking to so many filmmakers was incredible, and I learned so much from hearing about their experiences. I look forward to diving into Season 6 after a little break. If you have any specific topics you'd like me to discuss with the indie filmmaking community, let me know!Cheers,Josh

🎙️ This Week on Low-Budget RebelsI was joined by filmmaker and editor Allan Piper to talk about his new movie EVIL SUBLET.We discuss mixing horror with comedy and the art of surprising the audience, the benefits of working with film, and the challenges that can arise on a film set. We also talked about the gaps between projects, self-funding, ways to adapt and utilize what you have at your disposal, and the joys of screening your movie with people who don't generally watch the types of movies we've made.Allan and I also discuss his experience on his first film STARVING ARTIST and follow-up documentary MARRIED AND COUNTING.Check out EVIL SUBLET now on Amazon, Fandango, and Spectrum, and follow Allan at @apiper13!Cheers,Josh

🎙️ This Week on Low-Budget RebelsI was joined by Ian Martin to discuss his film Cooke Concrete. This unique and methodical film stands out in the low-budget scene, showcasing a sincere commitment to its vision. Blending genres, Cooke Concrete consistently surprises with bold stylistic choices and innovative filmmaking techniques.In our conversation, Ian and I explored ways to the right tone for your film, understanding your creative process, the early experiences that shape our storytelling, unique distribution opportunities through streaming, and the importance of personal storytelling.We also chatted about the intriguing mystery behind Cooke Concrete, crafting a film with intentional pacing, and encouraging audiences to engage with a central question early on.This and so much more!Make sure to check out Cooke Concrete, available on Tubi, Amazon, and Hoopla:https://tubitv.com/movies/682678/cooke-concrete?start=trueFollow Ian Martin at ianmartin.works or on Twitter @ianmartinhello.Cheers,Josh

On today's episode of Low-Budget Rebels, I chatted with director Garry Medeiros and producer Walter Rivero about their film Plaga Zombie: American Invasion, a comedy zombie movie filmed with hilarious camp, nasty jokes, and a relentlessly fun style.We discuss the process of being able to make a sequel to a cult camp film and why this movie seemed like the right first for the team. We also talked about the styles and movies that influenced their passion for filmmaking, finding locations and people to help with visual effects, finding the motivation to keep going when things hit rock bottom, scheduling, and tricks we've learned over the years making projects on minimal budgets.Make sure to follow Plaga Zombie: American Invasion on Instagram at @plagazombi.4 and check the movie out on TUBI. To learn more about their upcoming film Sins of the Devil follow @sinsofthedevil24 on Instagram!Cheers,Josh

On this week's episode of LOW-BUDGET REBELS, I sat down to chat with director and amazing human Dusty Austin. We discussed her new movie The Beast of Walton St. and how a love of visual effects led to experiments with film and made the process seem possible.We also discussed finding the genre you prefer, self-discovery of the type of director you want to be,  the challenges of adapting on set when things go wrong, taking the "No's" you receive as possibilities, and trying to balance what you can do to help the independent film community while also creating your own art.Make sure to follow Dusty online and keep an eye out for The Beast of Walton St. this November from Scream Team Releasing!CHEERS!Josh