First Time Go

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

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE END OF THE TOUR (2015)Director: James PonsoldtScreenplay: Donald MarguliesCast: Jason Segal; Jesse EisenbergSYNOPSISDavid Lipsky, a reporter with the Rolling Stone magazine, interviews acclaimed novelist David Foster Wallace for five days, during which they form a unique bond.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

Making a film called G.S.W (2025) (gun shot wound in medical jargon) in a country with very little gun shot wounds is a choice by British director Jonny Durgan, and I'd argue it's an excellent one. The film works for all sorts of reasons -- Jonny's advertising background; a great script; a fantastic acting performance by Genevieve O'Reilly -- or ten other ones. We explore all the reasons in the pod.In this episode, Jonny and I discuss:whether his sense of humor is a reason for his success;naming a film G.S.W. and what he wants people to know going into watching it;his transition between advertising and filmmaking;how advertising informs his filmmaking;the release strategy process for short films and what he might do differently;his ability to find great actors for his films and its affect on getting his films made;don't be shy on sending out your script if you believe in it!;casting for short films;how the US market views the film given the higher rate of gun violence;making indie films in Britain.what's next for him.Jonny's Indie Film Highlight: A FRIEND OF DOROTHY (2025) dir. by Lee Knight; PROTEIN (2024) dir. by Tony BurkeMemorable Quotes:"I grew up quite in a rural area, so to...say to someone, I want to be a film director, they might as well have said, I wanna be a NASA astronaut.""For short films in particular, you really have to be tight with your story because there's no...time to spare.""And then I put the phone down and immediately pick up the phone to the producer, and said good news and bad news. Good news: Genevieve's in. Bad news: we've got five weeks.""One of the things I've learned is to always leave space for the actors to do their thing.""I feel like the kind of the talent of people coming through is so much greater than it's ever been. It's just I feel now that we could be in a golden age of short film really, or independent film, hopefully."Links:Follow GSW On InstagramJonny Durgan's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

It's hard for me to conjure up another word for Joecar Hanna's award-winning short films, DELIVER ME (2003) and TALK ME (2025), other than: masterpiece. They push the boundaries of cost, intimacy, and what the medium itself can deliver. If you're able to see them -- maybe reach out to Joecar on social media and be nice, it might work -- do so. Near the end of the episode, he gets to an important point: intimacy content still hasn't been taken over by AI.What a unique filmmaker here today for the podcast; director/writer/actor, even willing to work blue, Joecar Hanna.In this episode, Joecar and I discuss:what it's like having masterpieces of short films unavailable for viewing;if there's a part of filmmaking that doesn't appeal to him;how he got started in filmmaking and why he decided to get his MFA at NYU;telling "your story" if you don't have a story to tell;changing "find your voice" to "find your perspective";how to think of his last two films with similar names;his ability to pull off so many things with his films -- art department, makeup, intimacy coordination -- with so little money;the focus of his art at the intersection of intimacy and love;the amazing story (and Spike Lee's encouragement) about him acting in intimate scenes;why so many filmmakers shy away from the level of intimacy that's in his projects;if he's happy with NYU's focus on top festivals and his recommendations for others;what people are looking for in films if it's not quality?his next project and how people should approach film festivals.Joecar's Indie Film Highlights: AFTER THIS DEATH (2025) dir. by Lucio Castro; DRUNKEN NOODLES (2025) dir. by Lucio Castro; THE MAN FROM EARTH (2007) dir. by Richard SchenkmanMemorable Quotes:"And they always tell you to keep it private and to preserve the status and all this kinds of things, right? That, for a short, I sometimes wonder really if it's necessary.""Racism in Europe -- in particular, Spain -- is completely different to how racism could be here, right? It's more invisible. It's more like little details.""Do I need to go to film school? And the truth is I could focus while I had all the other crafts, I could focus on the last one that I needed to train, which was writing." "How can I tell this story and can I condense when I don't have tools or I don't have money." "When you're in film school and you have many people helping you, obviously they're not getting paid.""For TALK ME, I had to go back and ask every single person I knew for the last 20 years favors.""I really like to talk about what I call little prisons of, or cages, from people...that we like to put ourselves in.""They have to know me and they have to know that I'm not a creepy person that is just...trying to get everyone naked.""There's 300 people in this room seeing our butts right now." "When I won TIFF, no one called me next day." "We can't be too precious about what we have.""Even if you go to Sundance Labs right now, you can find people struggling with financing. You better hurry.""Good thing for now is the [AI] limitation with intimacy content is not allowing people to do that yet."Links:Follow Joecar On InstagramJoecar HannaSupport 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: BUNNY (2025)Director: Ben JacobsonWriters: Mo Stark; Ben Jacobson; Stefan MarolachakisCast: Mo Stark; Ben Jacobson; Liza ColbySYNOPSISOver one wild summer day and night in their East Village tenement, streetwise hustler Bunny and his friend Dino scheme with a crew of eccentric neighbors to cover up a dead body. Chaos reigns as the clock ticks and the heat rises.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 YouTubeConsidering most of the episodes now from the previous three seasons are under paywall, the first episode of the New Year simply has to be excellent. It's what listeners throughout the year probably will listen to first, and thankfully, I found a guest that absolutely exceeds any expectation a listener might have when they click play: director Robert Kolodny of THE FEATHERWEIGHT (2023).If you google Criterion Collection, Robert's name, and Reddit, you'll get the comment I reference here about how he's going to be a "GOAT filmmaker in a couple of years, up there with Scorsese, Anderson, Fincher. Just watch."I didn't write it, but I wish I had.In this episode, Robert and I discuss:the obsession of what's next, from filmmaking to college football, and what that means for directors;how he got his start and his incredible preparation work of watching films for his craft;how he watches other films and his thoughts on film criticism;what he learned on his 14 year path from cinematography to directing his first feature;what he's looking for in terms of working on a project;the genesis of THE FEATHERWEIGHT and what people should expect to watch;how he came up with the style of the faux documentary for the film;the invented crew members for the film to help the actors;why there are so many siblings in independent films;whether indie filmmakers can go too far in pretentiousness;if THE FEATHERWEIGHT felt like a documentary while filming and his thoughts on the genre;AI in indie films;the incredible score in THE FEATHERWEIGHT and why the music was so important for the film;the casting process and the BAND OF BROTHERS (2001) connection;the underrated nature of this film;what he'd do differently for the release strategy of the film;what's next for him.Robert's Indie Film Highlights: PREDATORS (2025) dir. by David Osit; ZODIAC KILLER PROJECT (2025) dir. by Charlie Shackleton; EEPHUS (2024) dir. by Carson Lund; PETER HUJAR'S DAY (2025) dir. by Ira SachsMemorable Quotes:"My philosophy has always been, in order to be a filmmaker, you have to be a working filmmaker. Now that doesn't just mean being a technician, but it does mean putting the hours in and looking at what contemporary cinema is and trying to be attached to it in as many meaningful ways as possible.""I've been incredibly privileged that there's never really been a time in my life where I did not know this is what I wanted to do.""I keep...a very extensive spreadsheet...it's December 11th that we're recording this. I have watched 362 movies in the year 2025 so far. And I'll probably get up to 380.""Will it be able to...hold the amount of prestige that I am attributing to it? That I believe that it deserves. You're like a parent waiting for your kid to get into college.""Do I think that some kind of digital actor is gonna give a better performance than a real actor? I would rather boil myself in a pot of soup than even consider such a ridiculous question.""There's a ton of music in the film but most of it is hidden. I could see people watching the film and being like there's just that one song at the end, which is not true." Why the music was so important to him: "It's partially because I'm an insane person. And partially because, you're working in a period piece, right? The film takes place in 1964 and then intermittently in 1941. And if we're going to sell the idea of this is a documentary that was made half a century ago, how are we gonna stand up and believe in that?""The originator of the idea of making this movie about Willie Pep was James Madio.""Despite people being like, oh, there's no good movies out. That's a fucking lie."Links:Follow Robert On InstagramWatch THE FEATHERWEIGHT On MubiSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Happy New Year! The perfect way to end the year is with director John-Michael, or JM, Powell, and his genre thriller, VIOLENT ENDS (2025). In this episode, JM and I discuss the astonishingly moody cinematography -- the deer scene and a shootout will stay with you way after the film; his journey through film school and a grant that made this film possible, and his steady and sure approach to indie filmmaking.And let me add: VIOLENT ENDS is a perfect New Year's Eve film. Let the shootouts remain on the screen, grab a bottle of Champagne, and welcome in the New Year with filmmaker JM Powell.In this episode, JM and I talk about:the incredible moody setting of VIOLENT ENDS and how setting portends to great filmmaking;how he got his start in filmmaking;whether you should go to film school;the story behind his first feature, THE SEND-OFF (2022);why he loves the Calgary International Film Festival;how he managed fatherhood and his advice for people having kids in the indie film space;the grant that made VIOLENT ENDS possible and his views on using film to shoot it (which was made impossible by a very mundane reason!);what people should expect to watch with VIOLENT ENDS;the moody cinematography, including whether the deer was real and more about the insane shootout scene near the end;how to handle both fantastic and negative reviews as a filmmaker;the vote of great actors on a particular project;what's next for him.JM's Indie Film Highlights: THE LAST STOP IN YUMA COUNTY (2023) dir. by Francis Galluppi; TOUCH ME (2025) dir. by Addison HeimannMemorable Quotes:"There's so many movies that take place in New York, but the good movies feel specific to that writer and that filmmaker.""I went to school in Dallas Fort Worth, so I think a lot of the people aspire to do like commercial work in Dallas.""I'm very much that personality where I'm...give me a problem and I'll figure out how to solve it.""Anywhere you can find yourself where you are orbiting and brushing up against story because story is everything.""You can create your own AFI community on YouTube.""In some ways, I think, micro budget, independent distribution is obsolete.""What matters to me more than shooting on film is capturing a good story.""I don't think most people are consuming film criticism. I think most film criticism, especially for cinephiles now lives on like Letterboxd...Rotten Tomatoes obviously, too, is a valuable asset. But these platforms cater to clickbait headlines and taglines that for better or worse...that has influenced our cinema discourse and our film criticism."Links:Follow JM On InstagramWatch VIOLENT ENDSSupport 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: GRAND TOUR (2024)Director: Miguel GomesWriters: Telmo Churro; Maureen Fazendeiro; Miguel GomesCast: Gonçalo Waddington; Crista Alfaiate; Cláudio da SilvaSYNOPSISEdward, civil servant, flees fiancée Molly on their wedding day in Rangoon, 1917. His travels replace panic with melancholy. Molly, set on marriage, amused by his escape, trails him across Asia.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

Merry Christmas and happy holidays from the new classic (if that's a thing) CHRISTMAS, AGAIN (2014) and director Charles Poekel. He's hosting screenings ten years on for the film, saying it's found a new audience, and it's easy to see why. The film captures Christmas in New York City -- or at least what it looks like in reality versus postcards -- and starred talent that exploded in the indie film scene in the last decade.It's the perfect time to catch up with its director.In this episode, Charles and I discuss:what makes a great Christmas film and why CHRISTMAS, AGAIN fits that bill;how he got involved in filmmaking;the truly insane story of creating your own tree stand and running it for FIVE years as a gateway for the film;how the film is a great case study for his students;how the film heralded so much great indie film talent for the subsequent decade;that film v. digital is such a project-specific question;who should be attending film school?the "everyone is a filmmaker" phrase and what that means for students and emerging filmmakers;what's next for him and avoiding cultural references in a film so that it ages better, especially for Christmas films.Charles' Indie Film Highlight: OBEX (2025) dir. by Albert BirneyMemorable Quotes:"Every year there's a little bit of bump in people who discover it.""People really appreciate the familiarity of Christmas tree sellers in New York." "There'd be a lot of complications trying to shoot a film like this at somebody else's Christmas tree stand." "And then the third year we shot the film at the Christmas tree stand while it was open. So we had people working there selling trees while we were shooting. Our actors would stop and sell trees if customers came up right.""I was working documentaries. I'd never made a feature. I hadn't even made a fiction short since college at this point. My boss very smartly at the time was like, don't make a short, make a feature. And I was like I don't even know what I'm doing.""And I've shot some stuff on an iPhone and even if someone gave me a million dollars, I wouldn't have shot it on 35 because it just wasn't the right thing to do." "Shooting on film is more than just like an aesthetic look of a one frame versus another frame.""Especially with cinephiles, we all kinda approach this as like, film is a holy thing that we have and let's treat it that way."Links:Follow Charles On InstagramWatch CHRISTMAS, AGAIN (2014)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: CHRISTMAS EVE IN MILLER'S POINT (2024)Director: Tyler TaorminaWriters: Eric Berger; Tyler Taormina; Kevin AntonCast: Matilda Fleming; Francesca Scorsese; Maria DizziaSYNOPSISA family gathers on Christmas Eve for what could be the last holiday in their ancestral home. As the night wears on and tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own.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 the film FLATHEAD, currently streaming on IndiePix Unlimited, and let me know what you think. It took home awards from the International Film Festival Rotterdam, among others, because it's like nothing you've seen before. It tells the intimate tale of Cass and Andrew making their way in working class Australia.In my discussion with director Jaydon Martin, we delve into what is truly fiction in a documentary; his work at moving furniture to support his vision; and his advice for indie filmmakers embarking on their first feature.It's astonishing filmmaking from the Australian, and I cannot wait to watch what's next.In this episode, Jaydon and I discuss:the North American premiere for FLATHEAD and why he decided to make such an intimate film about his characters;how an award for the film at the Melbourne International Film Festival allowed him to stop moving furniture at night;finding his filmmaking system that works for him;how his career prepared him for FLATHEAD and his views on the concept of fictionalization in documentary;the unique docufiction nature of the film -- it's like nothing you've seen before;the dilemma about truth and how the film would be different if he had gone to film school;film v. digital;whether he'd use AI or not;the importance to him of the International Film Festival Rotterdam and how he views Australia's place in the world;whether the Australian government can do more;how indie filmmakers should view their careers;what's next for him and his advice from the festival run of FLATHEAD.Jaydon's Indie Film Highlight: SONG OF ALL ENDS (2024) dir. by Giovanni C. LorussoMemorable Quotes:"A lot of working class cinema or just media in general, it's always from a distance." "That was all just, talking through and establishing trust and establishing a relationship where, you go, all right, we want to do an intimate scene. And Cass was like, yeah, just, come in boys in the morning, I'll be stark naked.""That award has set me up. I'm working on two features right now.""I think sometimes you get into a trap if you try to work for industry jobs, you get burnt out. If you sat in an edit room four days a week, it's hard to jump into your own edit." "Mindless work is great because it's you can think about anything. You can dream away while you're moving a desk, moving furniture.""That's how you capture intimacy because if there's three people, two people there, the camera just fades away eventually after a while." "I've got a version of myself which is different to my partner's version of me or my friend's version of me or someone I work with. I've got different versions of myself in this world. Which is the most truthful version of yourself?""I'm a big believer in trying to create an aesthetic of now rather than an aesthetic of nostalgia.""People get wrapped up about...this nostalgia about the tools.""And realistically, I can't pitch an idea, go, all right, can you gimme money? And two years later I'll have something to show you.""For any young filmmakers, I think EPs (executive producers) help a lot as well. Getting good eps that can get your film in front of programmers."Links:Watch FLATHEAD On IndiePix UnlimitedFollow Jaydon On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I'm so happy to return to the roots of the podcast by talking REQUIEM FOR A SOLDIER with filmmaker Jeremy Musher, currently crowdfunding on Seed & Spark. It is the story of a "Vietnam veteran who in his last weeks of service, found a Vietnamese soldier's diary, and 56 years later returned it to the soldier's family." We talk war films, fatherhood and filmmaking, and his sweeping vision for a topic that doesn't get as much love as it should: Vietnam veterans. And this film has the added pleasure of showing the Vietnamese perspective.Let's get REQUIEM over the line. Happy holidays.In this episode, Jeremy and I discuss:the crowdfunding video and how he describes REQUIEM FOR A SOLDIER;what defines a good war film;why REQUIEM is a documentary rather than a narrative project;why they decided to crowdfund the film and use Seed & Spark specifically;the landscape for grants right now;the 60 day length of their campaign versus shorter options;the visual style he brings to documentary filmmaking and why they are weaving animation into the story;what he wishes existed for parents and fathers on film sets;the next few months for the film.Jeremy's Indie Film Highlights: THE ZONE OF INTEREST (2023) dir. by Jonathan Glazer; LITTLE DEATH (2024) dir. by Jack BegertMemorable Quotes:"The interview we did with him to shoot this kind of teaser was a seven hour interview, and Peter just has story after story.""It is the story of a Vietnam veteran who in his last weeks of service, found a Vietnamese soldier's diary, and 56 years later returned it to the soldier's family.""I feel like financing a film is harder than actually making the film."About one of the subjects of the documentary: "He struggled with a lot. He struggled with PTSD. He was an alcoholic, he was homeless, divorced arrested, and never lost the diary.""I've never done a crowdfunding campaign before and I've always pushed it off until I found a project that I really cared about.""[Animation] works so well for war...because I think that war is probably one of those things that you can't really understand unless you've lived through it and as somebody who hasn't lived through it, it's hard to ever fully understand it. I think love is honestly on that same spectrum.""It is a really hard industry...to have kids in, be a filmmaker and to have kids in our industry. You get locked in to staying local. And I think there's a reason, Terrence Malick took 20 years off of being a filmmaker so he could watch his, so he could actually raise his children."Links:Donate To REQUIEM FOR A SOLDIERFollow REQUIEM On InstagramFollow Jeremy On InstagramSupport 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: THE BROTHERS MCMULLEN (1995)Director: Edward BurnsWriter: Edward BurnsCast: Jack Mulcahy; Michael McGlone; Edward BurnsSYNOPSISThree Irish Catholic brothers from Long Island struggle to deal with love, marriage, and infidelity.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

Surely he didn't know it then, but his work in media in China made my guest, filmmaker David Borenstein, the perfect person to direct MR NOBODY AGAINST PUTIN (2025). It's a fantastic film following a Russian teacher "secretly documenting his school becoming a war recruitment center during the Ukraine invasion."What David and especially his co-director, Pasha Talankin did was make a film at great personal risk because it's so cutting towards the Russian authoritarian regime. And astonishingly, as David shares in the podcast, he wants to do more of these stories in repressed societies.Thank God there are people like David and Pasha. Denmark's nominee for best international film at the 2026 Oscars is an absolute gem.In this episode, David and I discuss:the simplicity of the documentary and whether the overwhelmingly positive reaction surprised him;how he got started in filmmaking and his familiarity with heavily propagandistic societies;the difference between journalism and documentary filmmaking (he has an incredible answer here);the debates with his co-director about the concept of propaganda;how cool it would be to see a documentary or podcast on the making of MR NOBODY;logistically, how did the film happen?;how his co-director became knowledgeable behind the camera;advice for anybody interested in doing a project like this, especially when you aren't in the same place as your co-director!;how he edited the project and who got the line credit for it;how we can better support filmmakers in places like China and Russia;when the film will be available for streaming and the challenges of finding distribution in the United States;the clash between US and Europe distributors for documentary films;what's next for him.David's Indie Filmmaker Highlight: Nathan FielderMemorable Quotes:"The co-director, he actually responded to a casting call in the beginning. So in the beginning, we were filming him as a character.""The very first time that I was involved with cameras of any sort was actually as a Chinese speaking host on Chinese TV.""if you are a quite fluent foreign speaker of Chinese living in China, they'll find you after a while. You are a curiosity to Chinese audiences.""[John Grierson] defined documentary in a very special way. He didn't define it as journalism per se. He actually called it the propaganda of democracy.""There were so many points where I thought about quitting or walking away 'cause it was so hard. But don't give up." "The way I work with editors is I make a rough cut myself and then I deliver it to editors to work for a little bit of time to challenge me." "I think it's really important as director to be generous.""[The film] is resonating with people in Russia and not necessarily people who are already part of the Russian opposition.""I'm still really interested in getting into the big kind of countries that we don't understand enough, Russia and China."Links:Follow David On InstagramFollow MR NOBODY AGAINST PUTINSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

There's no hyperbole in this statement: my guest, native New Yorker and founder and managing principal at East End Capital, Jonathon Yormak, influences independent filmmaking more than any other guest I've had on the podcast. East End will have over 2.5 million square feet of studio space under management at the opening of his fifth studio in Los Angeles.So not only does that space support a number of studio-level productions, the talent that works there is your next audio engineer, gaffer, cinematographer, or director...if New York and California remain friendly to U.S.-based production.A big if...and a big topic in this extraordinarily special -- and important -- episode of the podcast.In this episode, Jonathon and I talk about:what drew him to developing five different studios across Los Angeles and New York;the recent history of real estate/TV + film production, including the opportunities available in New York City;the role of COVID in building out the new studios;the expectations vs. reality of building in the entertainment world;the economics of building studio space after the strikes;competing for business, in the United States and abroad;the kinds of business his studios attract and why a production might choose one stage over another;the future of AR/VR and AI in studio space;how he stays current on news in this space;what he advises the New York City mayor and California regarding the film business;how he'd love Quentin Tarantino or Steven Spielberg to use one of his facilities.Memorable Quotes:"if you really look back the intersection...between real estate and film and TV production, it really began with Netflix and their explosion into digital content distribution and then spending an enormous amount of money directly on content creation.""And so by 2018, 2019, you also had Apple and Amazon that had both started to get into the game. And in a couple of instances, Amazon in particular had leased some space for ten year terms. And so what you started to see was that occupancy was well north of 90% in almost every sound stage in the United States. And on top of that, there really had been no new development, with the exception of Atlanta, of new best in class film and television sound stages in the US for 25 years.""To build anything in California takes forever." "What happened is, the strikes hit and at the same time, Wall Street was putting pressure on all of the streamers to figure out how they were making money.""So they started to go to places...that had very favorable tax incentive regimes. So those would be...the UK, Ireland, Canada in particular.""Our view of [AR/VR/AI], it actually is supportive of higher stage occupancy.""So if you wanted to film in Times Square, you had to actually go to Times Square. You wanted to film in front of the Eiffel Tower, you had to go in front of the Eiffel Tower. In facilities like ours, where you can get the height and the distance away from them, you can film that in a sound stage.""From AI...being able to make a movie. I still think that, the human element...it's not from everything I'm seeing, it's just not able to capture that well."Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

When I went back and edited this episode with my guest, filmmaker Tom Koch, I realized: he's doing a color series of films! To put that much thought into his work as well as have the creative control to name his films is the perfect way to describe Tom: extraordinarily thoughtful, humble, and a guy capable of doing anything in his films: acting, writing, directing, accents, ballet even!His latest film, OLIVE (2025) is an absolute treat -- the logline "while caring for grandma, Sam, the character played by Tom -- begins to question the nature of their relationship" -- and it shows his mastery of the craft. He even knows war films, which is my unique quality. If he ever gets into indie film podcasting, I can't say I wasn't warned about how great he'd be.In this episode, Tom and I talk about:save some talent for the rest of us, Tom -- acting, writing, producing, directing, ballet?!;how he got started in acting;how his approach evolved from ORANGE (2024) to OLIVE (2025);writing a script and playing a character you weren't expecting to play;when writing, directing, and acting becomes a bit too much in indie films;the challenges of casting in a world that cares more about celebrity and follower count than actual talent;how much being a stage actor matters;what does he look for in actors when he's casting his own projects;the best way to think about OLIVE before watching;what excites him about "telling stories with a twist", the motto of his production company;the festival circuit for his films and what advice he has for film festivals;what he's working on now and when people can expect to see OLIVE;whether we'll see him behind a camera and his great eye for war films.Tom's Indie Film Highlight: AMOUR (2012) dir. by Michael Haneke; THE PIANO TEACHER (2001) dir. by Michael Haneke; THE WHITE RIBBON (2009) dir. by Michael Haneke; WARFARE (2025) dir. by Ray Mendoza; Alex GarlandMemorable Quotes:"Nobody saw a stage play or school play of mine...when I was seven and said, oh, that kid.""The big thing that I changed for OLIVE was that ORANGE was really a proof of concept." About acting in OLIVE: "And there was a part of me that thought it would make things easier because I didn't have to find an actor and I didn't have to tell them what Sam was, in a way.""Sadly we're in a world now where we're competing with so many different productions and so many different artists, and funding for film is getting a bit harder because I don't know if people trust the medium as much as before."More about acting: "It's one of the only jobs where people get placed in it out of nowhere when it requires so much training and people go to school for four years to...get better at acting and do like classical work. You would never do that with an athlete.""I don't think it's necessary to do stage to be a great screen actor.""You can take a little bit more liberties with a short...people are not really behind your butt saying oh, you can't write this, you can't write that. Oh, you have to change the ending because you're you're doing your own thing. So it's perfect for that.""It's a very hard and tedious process where the cards are not in your hands and you work for a year on something that you create with a group of people. You put it on a Vimeo link and you pray.""They've watched thousands of films and they picked a few, and they're like, go watch those.""I feel like the more I act, the better director I can become."Links:Follow Tom On InstagramFollow OLIVE On InstagramWatch ORANGE NowSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if I've met a more accomplished yet depreciatively humble filmmaker than my guest, Conor McCormick. Here are the facts, though: he was admitted as one of the few to the Square Peg Social, a program set up by Ari Aster and Lars Knudsen "break down the walls and barriers that too often exist within the film industry." (There's a bunch of Reddit threads that speak to how hard this was). His films, most recently BUNKER BABY (2024) and FOR THE CURE (2025), speak to the current state of masculinity in a way that is sorely needed in today's film world.Another way of saying all this, much more succinctly, is that I have an Irish filmmaker on the podcast. And not just any -- one of the country's brightest new stars.In this episode, Conor and I discuss:what drew him to the topic of male existential crises in his filmmaking;the "write what you know" argument;how he got started in filmmaking;what it's like going to film school in Ireland;getting his career started after film school;his selection into Square Peg Social, a new initiative by Ari Aster and Lars Knudsen;the collaborative nature of Square Peg;shout out to filmmaker Shelly Yo, another participant in Square Peg and an all-time favorite guest of the pod, who connected us (if you haven't watched SMOKING TIGERS...now is the time!);what it means to be an Irish filmmaker;where audiences can watch Irish films;what he noticed about the filmmakers selected for Square Peg;if film festivals can foster more of a collaborative environment like Square Peg;his special affinity for Austin, Texas;what's next for him;the amazing market for short films on airlines, including Aer Lingus, and the future for the medium (I didn't know Vimeo Staff Picks were not available in Europe).Conor's Indie Film Highlight: JUNIPER (2021) dir. by Matthew J. Saville; HUNTER GATHERER (2016) dir. by Joshua Locy; SMOKING TIGERS (2023) dir. by So Young Shelly YoMemorable Quotes:"it was just trying to tap into people in their late thirties who are...trying to figure that out. And I feel like...it's quite a universal experience right now is that we're all moving further on in life than our maybe our parents' generation before us and not as well set up and the sort of anxiety that comes around that.""When you go international like that, I think you just realize the bar in terms of how good some of these films are.""I think another thing that really helped is we all got to watch a sample of each other's work before we all met."About the films selected at Square Peg: "It was...a varied mix of people. And if anything, it felt like it was more story first.""You certainly have gone to some festivals where you go, you show up, screening ends, everyone disperses, and then you're like, all right...we're in a new city somewhere, we've traveled and now we're just gonna go to the pub by ourselves or something."Links:Follow Conor On InstagramConor McCormick's 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: THE FEATHERWEIGHT (2023)Director: Robert KolodnyWriters: Tyler Taormina; Eric BergerCast: James Madio; Ruby Wolf; Keir GilchristSYNOPSISIn 1964, a camera crew follows retired featherweight boxing champion Willie Pep. Down and out in Hartford, Conn., married to a woman half his age and facing mounting debts, Pep decides to return to the ring.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 pod's annual thank you edition episode.Thank you to the guests. There wouldn't be a show without you. I am grateful you are willing to take the time to talk about your career. I hope through my preparation I show my appreciation for you.Thank you to the listeners. The podcast started as a way to get a documentary made and has grown almost every month. I spend a lot of time editing so every second is hopefully something worthwhile for you. Let me know how I can improve.Thank you to my wife, son, and family. I appreciate your patience with me while watching another weird film or "hold on, I'm editing." I absolutely cannot wait to talk indie kids' films.This is such a blessing to do this and I'm grateful for all of you. Thank you.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: HAM ON RYE (2019)Director: Tyler TaorminaWriters: Tyler Taormina; Eric BergerCast: Haley Bodell; Audrey Boos; Gabriella HerreraSYNOPSISA bizarre rite of passage at the local deli determines the fate of a generation of teenagers, leading some to escape their suburban town and dooming others to remain.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