First Time Go

Watch This Episode On YouTubeKate Cobb is one of the most dynamic filmmakers working right now, and it's because she's willing to be an actress, an editor, a writer, a director, as well as empower everyone else on set to make the film happen. Her feature debut, OKIE (2024), was a revelation for its authenticity and heart, so it's no surprise that the filmmaker behind it is, too.Her new film, BRB (2026), premiered at Slamdance 2026 to fantastic reviews. It's a "love letter to early Internet girlhood", and I'm so thrilled to see Kate's ambition expand to such a well-written, personal film.As she talks about in pod, she already has a third film in the can -- this is the story of a person fully taking the reins of her career and making great art. I'm absolutely here for it.Kate and I talk about:what is BRB, her stunning second film that premiered at Slamdance 2026;her takeaways after her first film, OKIE (2024);the journey from acting at DePaul University to directing;the wisdom of making a proof of concept short before making OKIE;how we should talk about -- and rate -- first features without being condescending;why she directs films that other people wrote;casting people with large social media followers, and finding someone like that who can truly act in Zoe Colletti;distribution for the film and what she learned from OKIE;how being an actor informs how she runs a set;what it's like working with a business partner who is also a life partner;what's next for this astonishingly creative filmmaker and is there a job on set she *hasn't* done?!Kate's Indie Film Highlights: GUACAMOLE YESTERDAYS (2024) dir. by Jordan Noel; EDGE OF EVERYTHING (2023) dir. by Pablo Feldman and Sophia SabellaMemorable Quotes:"I think I learned that the festival part is such a joyful experience and to treat it as such.""When I turned towards directing and when I did...it was like putting on the right size shoes for the first time in my life. All of a sudden I was like, oh, wow, I'm using my artist heart, but I'm also using my like corporate shill brain.""If you learn every single job, no one can stop you from making a movie.""Your first feature is precious. It's precious because you, yes, you're not the best filmmaker in the world and no, you're gonna mess up and you don't have the luxury of a huge budget or a bunch of time or even a bunch of experience, but that's what makes it amazing, because you're finding that person while you do it.""I want my audience to be able to see themselves within it. And in order to do that, it has to start with me seeing myself within it.""I was an actor for so many years and I've been on so many different types of sets, and let me tell you, most of them are run by men. I had a lot of thoughts on that as far as basically it gave me a map. Not all men, obviously there are incredible male directors and filmmakers.""The absolute enemy of creativity is when people cannot feel vulnerable.""Make a seat for fear."Links:Follow Kate On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MISTRESS DISPELLER (2024)Director: Elizabeth LoWriters: Charlotte Munch Bengtsen; Elizabeth LoStars: Fei Fei; Wang ZhenxiSYNOPSISA Chinese woman hires someone to secretly end her husband's extramarital relationship in an attempt to save her marriage.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeI can't think of a better way to start special Slamdance coverage than with Sammy LeMieur, talking about his film, THE LEMIEURS (2026), which debuted at Slamdance this week.The logline: Fearing regret and desperate to keep hold of their history, the five sons of a small-town Minnesota matriarch must reconcile her aging, while her three grandsons running a funeral home face death head-on.I spend a fair amount of time in Minnesota so I can say: this is exactly what it's like. That was one of his goals at film school -- to show people the real Minnesota -- and for him to be able to pull it off, it's an incredible story.Over the next few weeks, the pod will release episodes more frequently than Tuesdays and Fridays (in theory, anyway) with a host of interesting Slamdance films.Slamdance is one of my favorite festivals because it attracts unique and groundbreaking films that are still absolutely independent. As long as I have a podcast, there will be Slamdance episodes, and of course, I'd start with Minnesota and filmmaker Sammy LeMieur.In this episode, Sammy and I talk about:why Minnesota is rarely on screen and why his film is such a breath of fresh air;how he got started in filmmaking in Minnesota;why NYU and if he recommends going to film school;the importance of creating short films in his filmmaking journey;how THE LEMIEURS got its start;what he wants people to feel when they watch this deeply personal film;the ending everyone sees coming -- but you don't want to see;his families' reaction to the film;his path into making documentaries and what his future in the genre holds;the distribution for his film and generally for docs;what's next for him, which is another doc that I can't wait to see.Memorable Quotes:"We were the first NYU production to shoot in Minnesota.""You pay for film school to meet your collaborators and...for the opportunity to use the equipment and make a movie.""I think there's something about short films that really teach you structure.""What I want people to feel is just be, feel like a LeMieur for 70 minutes, like you're a part of this family from when you sit down and when you leave the theater.""I knew from the start that it was always gonna end like that, and I figured the audience would know that too. And that was the challenge was like, how do you create a progression and create a rising conflict throughout this story that you know where it's gonna go?""I always thought I was gonna be a fiction guy, like with more a narrative approach. But I think like I said they're the same to me."Links:Follow THE LEMIEURS On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Treat your art like a startup is fantastic advice from filmmaker Charlotte Siller. She has a lot of great wisdom from her ten year journey into making a documentary. A CURIOUS IDOL is a film about the "life, and truth, of Louise Brooks", a film star but also an intellectual powerhouse.Charlotte and I discuss so many topics we don't normally talk about on the podcast -- an unvarnished take on not showing up for class in college and the blockchain. It is thrilling to share an episode with such a unique filmmaker, Charlotte Siller.In this episode, Charlotte and I talk about:her ten year quest to bring her film, A CURIOUS IDOL: DOCUMENTARY OF A LOST GIRL;her unvarnished and amazing take on school, acting, and how she wound up as a filmmaker;why she didn't connect with acting and how cinema studies set her up to make a documentary;what the film looks like now and when it can expected to be released;why she's putting the film out now, despite the enormous challenges;the opportunities of the blockchain for indie filmmakers and her award from Decentralized Pictures;how marketing helped her filmmaking;what's next for her.Charlotte's Indie Filmmaker Highlight: Wong Kar-Wai; George Cukor; THE MOMENT (2026) dir. by Aidan Zamiri based on a original idea by Charli XCXMemorable Quotes:"The film itself is about Louise Brooks, who was a silent film star, but even more was a writer and like this brilliant self-taught woman.""The hardest thing about being truthful about the world is having to be truthful about yourself.""I think the professors there taught me how to look at film storytelling analytically and how to have a holistic viewpoint on it.""The most important thing to me in this whole process was that I did not put my own bias on it.""This has been a pretty sporadic decade of doing this. Hopefully, this is helpful to young filmmakers who are starting to embark in these journeys. I had to live a life in between all of this.""Filmmaking requires, oh, so much marketing, like a ton of marketing. And I didn't realize that. I had that experience until I started doing marketing and then I was like, oh, wait a minute."Links:Follow A CURIOUS IDOL On InstagramA CURIOUS IDOL WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: JACK GOES BOATING (2010)Director: Philip Seymour HoffmanStory by: Robert GlaudiniCast: Philip Seymour Hoffman; Amy Ryan; John Ortiz; Daphne Rubin-VegaSYNOPSISSingle Jack (Philip Seymour Hoffman) drives a limo for a living and has a best friend, Clyde (John Ortiz), a married co-worker. Clyde and his wife decide to set up Jack with another friend, Connie (Amy Ryan). Jack and Connie hit it off, and a tentative romance blossoms, inspiring Jack to take cooking lessons, learn to swim, and apply for his dream job. However, as that relationship grows stronger, Clyde and his wife find their marriage crumbling.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Part of the reason my guest, French filmmaker Boris Lojkine, has been so amazingly successful with his films, most recently SOULEYMANE'S STORY (2024), is his humility and understanding of how to portray people not like himself.Instead of making a "Parisian film about a middle age couple in the crisis of existential bullshit" -- his words -- he has made feature films that depict the life of an immigrant. Paris was the setting for his latest film, but he wanted it to come across as a foreign ZIP code.This was all borne out of his roots as a documentarian, and I am simply in awe of his story. And the fact that he eschews all social media. You're living the dream, Boris.In this episode, Boris and I discuss:why he's gone beyond most French filmmakers to show France from the outside;how he got his start in filmmaking as a philosophy teaching, making two documentaries in Vietnam;how narrative films can lose the reality of documentaries;the reason immigration factors into so many of his stories;if he's the right person to tell an immigrants' story;telling the story of female protagonists in his films;how Sean Baker helped him get distribution;if he's disappointed that his previous films aren't available for streaming;what led him to create SOULEYMANE'S STORY and the risks he took in making the film;the documentary feeling in his films and how he handles actors;does he see it as a compliment that other people are making films with similar stories?what's next for him and how filmmakers should be more adventurous.Boris' Indie Film Highlights: I ONLY REST IN THE STORM (2025) dir. by Pedro Pinho; A POET (2025) dir. by Simón Mesa SotoMemorable Quotes:"I started to make documentary films because my ex-wife was making documentary films and I saw how she was doing and I thought, okay, I will try to do my my own films too.""I wanted to make films abroad. I was not interested in making a Parisian film about a middle age couple in the crisis of existential bullshit.""There is the question of legitimacy and sometimes people, usually young people, younger people than younger than I am from, from another generation, they ask me, what's your legitimacy? And now I answer my legitimacy is zero. But because my legitimacy is zero, I have to work more.""I have to listen, and I think the most important thing in my work is not to direct, but to listen.""I was talking with a Congolese director. And my neighbor in the restaurant, he told me, oh, you are Boris. I watched your film yesterday and it's an incredible film. Let me talk to my friend Sean Baker, and he talked to his friend Sean Baker, who made a tweet. And the week after, we had a distributor, you know, sometimes you just have to eat Vietnamese in a restaurant."Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: CITY ISLAND (2009)Director: Raymond De FelittaWriter: Raymond De FelittaCast: Andy Garcia; Steven Strait; Julianna MarguliesSYNOPSISPrison guard Vince Rizzo (Andy Garcia) wants to quit his job to become an actor, but he also needs to make up for lost time with Tony (Steven Strait), a long-lost son who's an inmate where Vince works. When Tony is freed, Vince suggests the ex-convict move in with his wife, Joyce (Julianna Margulies), and their children. But because Vince neglects to tell his family that Tony is not just a stranger, but the son he fathered before he met Joyce, this leads to a series of comic misunderstandings.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

The king of the pushback -- it's a great title to have.In today's podcast, I talk with filmmaker Adam Neuhaus, who helped put together possibly the best brand in documentary, 30 for 30, and then bet on himself, founding Neuhaus Ideas and then The Nonfiction Hotlist. The latter project has continued to grow. March 6th, 2026 is the deadline for the Yahoo x The Nonfiction Hotlist partnership, which helps give a home to short docs.He is also involved in numerous nonprofits that help people get started in filmmaking, a sorely-needed boost when people need it to the most. That's the through-line of his career -- helping others. And much to his credit, pushing back on podcast hosts. That's my favorite type of guest.In this episode, Adam and I discuss:why extending a ladder -- or an elevator -- to people starting their careers is important to him;how he practically makes it work running his own company as well as companies like Nonfiction Hotlist;his start in filmmaking and journey from William Morris to creating puzzles;30 for 30's brand and what makes a great sports documentary;the issue of access in documentaries, especially sports;founding an "ideas" company versus running a production company;the amazing story of founding The Nonfiction Hotlist from a post on LinkedIn;why people were more amenable to accepting feedback as part of the application process of The Nonfiction Hotlist;sports films as part of the Hotlist and the importance of expanding your aperture about what a sports doc is;how film festivals actually work; Adam pushes back on the notion that a lot of it is determined by friends and pitching the programmers;why the Yahoo x The Nonfiction Hotlist partnership is such an important platform for short docs;what's next for him and The Nonfiction Hotlist.Adam's Indie Film Highlight: The 2025 Nonfiction Hotlist Memorable Quotes:"If you're feeling bad for yourself, give to somebody else, be of service to somebody else.""I decided to leave a...corporate job that I worked at ESPN for many years to give this a shot.""You need to find something that works between projects.""How do we find more durable systems for ourselves so that we stay accountable to ourselves, to the work we're doing? The only thing that I've ever seen really work in that way is consistency.""We're building a puzzle community. We're trying to build a large community, and then we don't need corporate dollars. We then could be able to sustain ourselves as an independent company.""I'm certainly entrepreneurial-minded. But it's certainly not easy.""A great sports documentary goes beyond who won and lost the game.""The projects that I'm less interested in are just the pure follow docs.""I call it an ideas company because primarily I am not necessarily looking to run production services for my company.""The challenge of a development company versus a production company is that development only gets paid when the project really comes to fruition.""When did we all start believing that everything has to take forever in this business? It's actually not true.""Fish your barrel before you start looking for generalized storytelling fans."Links:Follow The Nonfiction Hotlist On InstagramNeuhaus Ideas Yahoo x The Nonfiction HotlistThe Nonfiction HotlistSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director, teacher, all around rebel Itonje Søimer Guttormsen premiered her latest film, the buddy comedy-drama BUTTERFLY (2026) at the International Film Festival Rotterdam, and came here to talk about the film, her career, and all the bad advice she got at film school for the podcast.When you watch BUTTERFLY, you get the sense of an assured filmmaker at work: a close to two hour runtime that goes quickly and a work of art that doesn't feel like it was made by a committee. It was made by a truly unique voice.In this episode, Itonje and I talk about:the world premiere of BUTTERFLY at the International Film Festival Rotterdam in February, 2026;what she wants them to feel when watching the film;how she decided to get into filmmaking;the best way to encourage rebelliousness in film students;why we can't see her directorial debut, GRITT (2021);her focus on depicting artists in her films;the strong female protagonists in BUTTERFLY and why we don't see more of that on-screen;the balance of following the script versus giving actors room to maneuver;finding female role models as a director and whether things are getting better for female stories;how she didn't make compromises in her films;incorporating spirituality into her films without turning it into a punchline;what's next for her and what she has learned about the process.Itonje's Indie Filmmaker Highlights: Guy Maddin; Denis Côté; MAGIC FARM (2025) dir. by Amalia Ulman; Camilla Figenschou; Mariken HalleMemorable Quotes:"The audience [at International Film Festival Rotterdam] was, they're so attentive, they have a lot of questions and everything is arranged beautifully. So we had a blast.""There's no hierarchy. Everyone goes to the same party. You speak with short filmmakers, you speak with distributors or festival assistants.""I felt so many of the things I learned was wrong, kill your darlings. Less is more. All of this bullshit that I don't believe in.""It was my first feature feature film idea. It came in 2008. So I've been working with this for 18 years.""I think the sibling relationship...it must be the most defining relationship we can have." "I always felt that there's my way or no way for me."Links:Hollywood Reporter Interview With ItonjeFollow Mer Film On InstagramAndropiaSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OKIE (2024)Director: Kate CobbWriters: Boris Lojkine; Delphine AgutCast: Kevin Bigley; Kate Cobb; Scott Michael Foster; Dan JohnsonSYNOPSISLouie, a lauded writer, returns to his dilapidated hometown after his father's death. Confronted with a deluge of people from his past, Louie is forced to reconcile with the stories he's stolen, twisted, or downright exploited for profit.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if it's fair or not, but if you're going to launch a service made up of Oscar nominated films, you have to have a background in making great films yourself to make it work. My guest today, director Alejandro Vilpa, is pushing forward with both: a streaming service called Vilpa Max that is now available in the Middle East/North Africa region and the UK for award-winning short films, and also going on a festival run with THE UNDERTONE OF DAVID JENSEN (2026), a sumptuous film about the struggles of a violin soloist.He put it together with the help of the Czech and Mexican governments, not an easy task, and now goes on to launch a streaming platform!It takes guts. Let's celebrate that today with Alejandro.In this episode, Alejandro and I talk about:how he launched Vilpa Max, a new platform available in the Middle East and the UK for award-winning short films;his start in filmmaking and what led him to starting his own streaming service;why the distinction of award-winning films as part of Vilpa Max;what's the pitch for an Oscar nominated short to wind up on Vilpa Max?;his advice for nominated filmmakers right now;the need to create high-quality films of your own if you want to attract those kind of filmmakers;the story behind THE UNDERTONE OF DAVID JENSEN (2026);how he handled the music playing in the film from actors who didn't know how to play the violin;putting together a film assisted by both the Czech and Mexican governments;"short films don't matter" -- his thoughts?;what's next for him and when Vilpa Max will launch in the United States.Alejandro's Indie Filmmaker Highlight: Malachi MarlanMemorable Quotes:"It's all about the team that I got. I got all the best team that I could have with what I had.""Most of us artists, we struggle to find out what's next, right?""I found there was...these films from the Oscars and Cannes Film Festival. They won and nobody knew about them. Why?" What's the pitch for Vilpa Max to filmmakers? "We make them make money with their films""I like to say we are all David Jensen.""We're constantly scouting for new films.""I don't think there's a single film in Vilpa Max that you would say, okay, that looks amateur."Links:Vilpa MaxFollow Alejandro on InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director and filmmaker Miguel Angel Ferrer did something truly remarkable and breathtaking in his film, THE SHADOW OF THE SUN (2023). Not simply that it's Venezuela's entry into the Oscars or he shot the film in his home country of Venezuela, although that's fantastic in its own right. When you hear the story of how the film came to be, through the radiant cinematography or the work of a 65 year old cameraman, you get an understanding of what a passion project this was for him. You understand why he imbued every single character in this film with their own backstory and meaty roles. I felt like I could understand every person in this film because of the care he gave them, and that's rare indeed.Venezuela is in the news for things other than filmmaking, but that doesn't have to be the case. Let's appreciate the true artistry of filmmakers like Miguel.In this episode, Miguel and I discuss:the radiance of the film and how it shows people what life is like in Venezuela;how the global news stories about Venezuela turned a spotlight on the country and its filmmakers;film school in Miami and how the city should be viewed in indie film;how his 11+ shorts led into this remarkable feature film;taking jobs you might not expect as a hidden strength;how he manages two companies -- Magic Films and Multi Movie Studios;what he's looking for in a director;how somebody should feel watching THE SHADOW OF THE SUN;why he imbued so much life into each of his characters in his film and why that's so rare;his commitment to shooting the film in Venezuela and what advice he'd give others on the process;his powerful answer about inspiring future Venezuelan filmmakers;how he got the nomination for Venezuela's entry to the Oscars;what's next for him, including a remake!Miguel's Indie Film Highlights: Jeff Nichols; THE SEA INSIDE (2004) dir. by Alejandro Amenábar; J.A. BayonaMemorable Quotes:"What's been happening lately obviously puts a spotlight on Venezuela, a gigantic spotlight on Venezuela, and people start doing the research and start asking the right questions, they find a lot of truth that they didn't know about.""As a filmmaker, you have to grab...the cards that life gives you and play them as best as you can.""Everybody wants like instant gratification and everybody wants the David Fincher career, the Nolan career. Whereas Nolan never had to do a commercial or a music video.""I want them to see themselves in these characters.""Having done verticals and having done a movie for a studio very rare nowadays does a movie get made that is not by committee meaning you have to adhere to something that the studio needs to be done or that the producer, the production company, needs to get done.""This one was one that when I got the kernel of the idea, it pulled me. I couldn't stop thinking about it. It pulled me and it pulled me, and I couldn't let it go until it was done on the page.""That's what we wanted to capture in the film, the Venezuelan spirit.""The moral of the story there is, listen to your girlfriend and to your mom."Links:Follow Miguel On InstagramMiguel Ferrer's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MADELEINE COLLINS (2021)Director: Antoine BarraudWriters: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISJudith leads a double life: two lovers, two sons in France and one daughter in Switzerland. Entangled in secrets and lies, her lives begin to shatter.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Most of the time, I'm hoping my guest will be a great one to have on the podcast, but with director + editor Sara Barger, I knew. She was an instructor as part of my documentary certificate program -- COVID killed the program -- but I got so much out of her thought process on how to make films. So when I saw her name listed prominently on the poster as the editor for her new film, DAD GENES, I knew I'd love to have her on the pod. I'm glad she agreed.As you hear in the intro, we talk about women in film and the lack of representation, as Sara served as president of Women in Film & Video, and through our conversation, I say she's forceful...because she is. But as I came up with that intro, I reflected on that: is that an attribute I'd give some guy? No. Because he'd be just being a guy. So a better way of putting it is Sara is how all people should be in film, regardless of gender: fierce advocates for their art. In this conversation, Sara and I discuss:her name being next to the director and producer on the poster;the story of DAD GENES and what the premiere was like in NYC;how she got her start in filmmaking;should directors know how to edit?;do you need to have a forceful personality to be a great editor?;looking back on her film, LITTLE BUT FIERCE (2020), and what she learned from it;finding issue areas to pursue as a documentary filmmaker;the quick 60 minute+ run time and her support for short feature docs;whether she loves the producing job -- on ads, yes; on films, no;progress on women in film;what's next for her and innovation in political advertising.Sara's Indie Film Highlights: THE SOCIAL DILEMMA (2020) dir. by Jeff Orlowski; THE GREAT HACK (2019) dir. by Karim Amer and Jehane Noujaim; THE LAUNDROMAT (2019) dir. by Steven SoderberghMemorable Quotes:"I don't think most people realize this, but when it comes to documentary filmmaker, the editor does a lot more than just piecing it together.""It was my first time seeing it with an audience. It was my first time seeing it on a screen larger than my laptop. And so I kept being like, oh my God, it looks so good. It sounds good. Okay, this is like a real movie.""I was the kid who was making all the neighborhood kids perform in backyard plays for our parents growing up.""The best people on set are the ones who know how to do everyone's jobs.""Yeah, I can edit this film, but you have to let me do my job.""When I'm in pain, when my back goes out, there's not enough weed on this planet.""The second you stop recording is when they say something amazing.""I have a ADHD, I'm like, come on man. We gotta keep this moving."Links:Sara Barger's WebsiteWatch LITTLE BUT FIERCE (2020)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

It shouldn't surprise you that somebody who is out looking for "weird stories that connect and resonate" would direct DAD GENES (2026), the film about a sperm donor meeting his biological children. Craig Downing has been around the world looking for great stories and when he finds one, he sticks to it, no matter the time it takes to tell. DAD GENES took almost 7 years from idea to festival fruition, and that's a big credit to his team. Matt Isaac did a fantastic job producing as well as developing a festival schedule -- the film had its world premiere at Dances With Films NYC -- and Sara Barger put all this together with phenomenal editing skills.I know Sara -- she was one of the excellent instructors at my George Washington documentary film certificate program -- and the kind of teamwork that puts the three of their names together on the poster for DAD GENES is the kind of team I want to have on the show. I'll talk with Sara for the next episode.DAD GENES is a film that's worth a close look, for what it says about American society and the tremendous team that put it together.In this episode, Craig and I discuss:the crazy over half-a-decade path to making the film;how he got started in filmmaking -- as a kindergarten teacher! -- and then off to Latin America and Iceland filming messaging videos for non-profits;if people have to go the influencer router versus what he did to get started;what brought him to documentary?the story of DAD GENES and what people should expect when they watch;how they took seven years of footage and made it understandable;the improvement of his skillset as filming went on;the state of documentary and the quick ruintime;what he's working on next.Craig's Indie Film Highlight: POW WOW (2016) dir. by Robinson DevorMemorable Quotes:"And Matt [the producer of DAD GENES] called me and he was like, hey Greg, do you know any directors that might be interested in working on this? And I was like, yeah, Matt, me.""If I took a video of someone walking out of Trader Joe's with avocados, they'd be like that's a pretty good shot, Craig, whatever. But if I took the exact same context of someone walking out of a Guatemalan market with a bag of avocados, you're like, whoa, that's amazing." "It is not necessarily just documentary, it's for me...where is the story?""My producer and publicist is we gotta tell 'em something about the movie or that they're not gonna know what's going on. Yeah, okay, that's fair, but don't play all the cards.""I felt like if you watch this movie, you see the development and the maturity of my ability to make interviews happen.""I think the runtime will be dictated by the story."Links:DAD GENES WebsiteFollow Craig Downing On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: SOULEYMANE'S STORY (2024)Director: Boris LojkineWriter: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISSouleymane, an asylum-seeking cyclist who delivers meals in Paris, has only two days to prepare for a crucial interview. This interview will determine his residence permit status.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Filmmaker Jeffrey Roth has never shied away from intriguing topics, looking to find the humanity behind some of the world's most influential stories: the Apollo astronauts, vice presidents of the United States, or a famed Egyptologist like he does in THE MAN WITH THE HAT (2026). He brings an eye for the story, not the politics, and that's what makes him an amazing filmmaker .In this episode, Jeffrey and I discuss:what's the best way to describe his newest film;how he got started in filmmaking;why he's interested in the human element of history;film in documentaries and his view on hybrid docs and re-enactments;the political environment and reaction if he announced he was doing a documentary on any sort of figure today versus when he did 41 (2012);the wild and bold story of how he secured the ability to make THE MAN WITH THE HAT;what he owes a subject as a documentarian;how he structured THE MAN WITH THE HAT;the name of the film and how he chooses topics;what's next for him.Jeffrey's Indie Film Highlight: FOR ALL MANKIND (1989) dir. by Al ReinertMemorable Quotes:"It's always one step ahead of you then where you really think that you should be." "I was with a buddy at a an event with these Apollo astronauts and we were just sitting around listening to them. And somebody had just mentioned it would be very interesting to see and watch a story about who they are as opposed to the science or the technology.""41 is not how to love or hate a Republican. It's about a story and a man...who happened to become president.""I would rather go to Egypt and shoot the antiquities there and shoot it either artistically, stylistically, whatever you wanna call it rather than get on a set.""I don't think the [political atmosphere] has changed. I would say it's probably heightened.""They made a big event with George and Barbara, with eight Apollo astronauts, six of the guys that walked on the moon in this one event. We showed the room and I walked out of there that night thinking I'll never see this guy again. But that was fun.""I owe them respect. I owe them honesty and to try to let them know really what the goal is. I don't want to tell them too much about what I'm trying to do. Because I don't want them to think about it. I want to...try to get the real person if I can. So when I'm sitting in an interview situation, I do not like to give the questions in advance.""I don't like to put somebody's name or really hit home to make the title too specific to what you're doing."Links:Watch THE MAN WITH THE HAT (2026)Follow THE MAN WITH THE HATSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: TO THE WONDER (2012)Director: Terrence MalickWriter: Terrence MalickCast: Ben Affleck; Olga Kurylenko; Javier BardemSYNOPSISAfter falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest today, director Robert Ham, has lived a life of service -- to his country, to art, to his family -- and it moved me deeply to host him for the podcast. We talk about his military service in the Army as a combat cameraman; losing his wife to cancer and making a documentary about her beautiful life, of honoring a 9/11 family with his latest film, ZZASLOW K-427, which is screening in New York City on January 18th, 2026.And if this sounds heavy, that's the duopoly of sometimes difficult service. I can't speak to any other profession like medicine that often walks the line so closely with the fragility of life, but in the military, a positive outlook even in the harshest conditions is the only way you'll make it through, and that spirit is reflected today on the podcast. Welcome to our world. In this episode, Robert and I discuss:the instant rapport of veterans, immaterial of branch and age;how he joined the military as a combat cameraman and the advice he'd giving aspiring filmmakers thinking about joining the military (OCS is officer candidate school; new recruits can attend with a four-year degree);how he became the most decorated combat cameraperson in Army history;graduate school at USC and earning a Tillman Scholarship from the Pat Tillman Foundation;why he started his own production company, HAMMR Productions;the challenge of showing PTSD on screen and what he thinks of veteran-focused films;weighing his own mental health with making realistic films about painful parts of his life;his reflections on MADE WITH MELANIE (2022) and his advice for people embarking on a similar journey;releasing indie films on YouTube;working on different topics than military related films?how INTERPRETERS WANTED (2023) is a great primer for learning more about the U.S. relationship with Afghanistan;why he edits his own projects;the story behind ZZASLOW K-427 (2025), which is screening in NYC on January 18th;the festival strategy for his films;what's next for him.Robert's Indie Film Highlights: WARFARE (2025) dir. by Ray Mendoza; MY DEAD FRIEND ZOE (2024) dir. by Kyle Hausmann-Stokes; HOLLYWOOD GRIT (2025) dir. by Ryan Curtis; SAND CASTLE (2017) dir. by Fernando Coimbra and Chris Roessner; Rebecca Murga; Maximilian Uriarte; Mike DowlingMemorable Quotes:"As going through the unique experience of being in the military and then coming out of the military and now being labeled a veteran, which becomes so much part of our personality...when I meet other veterans, it is that common bond.""I did extra work. I was a Marine in FLAGS OF OUR FATHERS (2006) as an extra.""Same thing with everybody in the military. It's hard. You're asked to do morally complicated things that you have to then live with. And so that's the first thing that I would approach it with is that like, where do you stand?""It feels like the further you get away from the source of anything, the further from the truth you're gonna get, right?""I've always used the camera to almost separate myself from the trauma.""All I could do was film. I don't know, I'm not a doctor, I'm not, I'm like trying to read these crazy things that she's researching and that we're looking together and taking notes when doctors tell us diagnoses and what we're trying to do and what options and medicines and stuff I've never heard of before.""We had the conversation about how we share this with the world and she just basically said, I trust you." "She was a great person. She was a wonderful woman. She deserved a film to be made about her." "It does come back down to my own inability to know how to help a helpless situation.""I have four kids. I'm married, I have a mortgage. So whoever calls up and says, we got a budget, I'm like, okay, let's do this.""I'm very self-critical of my edits and I don't hold onto things very closely. As a director, you shoot something and you're like, oh, this is it. And then the editor has to be like, no, that wasn't it."Links:Follow Robert On InstagramHAMMR ProductionsWatch MADE WITH MELANIE (2022)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every once in awhile, I talk with someone who completely changes how I view independent filmmaking and those creating the most inventive films. Lately, that was writer/director/dancer Sam Mandich, whose work was influenced by her beginnings in dance. When you watch her films, it all makes sense -- the spare movement and the focused direction -- it comes from her amazingly unique background.An experimental dance film? A psychological coming of age horror? Sign me up for the next few years of Sam Mandich's work. What an astonishing person and I'm so glad to talk with her today for the pod.In this episode, Sam and I discuss:how dance informs her filmmaking;the amazing through-line in dance, conformity, and coming of age stories;what she got out of attending incredibly selective programs like the Paris College of Art and the American Film Institute;why she was selected by her peers at programs like these for higher honors and how it relates back to dance;the signs that people handled selective opportunities poorly;the simplicity -- and complexity -- of her latest works like JIA (2025) and ANGELS;her work on a new experimental dance film (!!);what it is like for her directing other peoples' projects;how she developed her writing skills and working on a script she didn't write;the fact that coming of age stories have become more immediately told and what that means for the future;the various stages of release for her films and the emphasis of top film schools on festivals;what Square Peg Social was like for her;what's next.Sam's Indie Film Highlight: MA (2015) dir. by Celia Rowlson HallMemorable Quotes:"when I was living in New York and commuting everywhere with my headphones on, suddenly everyone's a dancer.""With dance, it's so interesting because it's an art that's about honing in on your personal craft, and how your singular way of expression feels.""Going back to dance, there's been so many times where you're thrown into environments where you don't know anyone and you're immediately expected to be open and soft and receive like people's most vulnerable stories and then tell them through your own body.""All of these experiences I've been reflecting on so much when I'm doing...I try to journal every morning and try to understand why I am feeling the way I'm feeling about something.""Even though art is so personal, it's really healthy to try to not take things personally.""Directing is a pretty lonely profession...so I think for certain stories, I'm really drawn to collaboration for that sense.""Working on my own scripts, there is a certain vulnerability that comes with the solitude of that...manifests in the story as well.""When you're choosing to make a film with someone, you're choosing to be in a relationship with them. So it's it's a little bit of you. It's a little bit of me, and we figure it out together.""Coming of age can happen at any age."Links:Follow Sam On InstagramSam Mandich's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content