First Time Go

They say "write what you know" to start your filmmaking career. In this episode, my guest, Jake Ringsell, makes the case to create films about subjects you don't know. If it works, that's great, but if it doesn't, he concludes, then you've learned something.This is advanced, gutsy filmmaking, and I'm here for it with director-editor-musician Jake Ringsell. His new film, now streaming on YouTube, is called THE RALLY (2024). The tagline for the film is, "mortality is brought to the fore when a terminally ill woman goes on a camping excursion with her best friend."It's more than that, though. It's something beautiful that will move you, and I'm so glad to talk with Jake for this episode.In this episode, Jake and I discuss:The deeply personal reaction for his film on the festival circuit and on YouTube for his film;How he got started and whether student loans are a whole thing in the UK for film school (they are);Whether non-musicians do a good job shooting music videos?What should people to expect when they watch the film;The unique lighting that tells the story;The casting process to tell such a personal story;How he got connected with the writer of the film and how the plot differs from real-world events;The challenges and opportunities of making a film starring only two women when it’s written and directed by two men;The decision for it to hit streaming at Omeleto after its festival run;His role with music in films as a musician and what indie filmmakers should know about scoring their films;How he feels about royalty-free music services;If indie filmmakers and musicians should work together more often;What’s next for him. Jake's Indie Film Highlights: FESTIVAL OF SLAPS (2023) dir. by Abdou Cisse; OLYMPUS LOST (2025) dir. by Amadeus RedhaMemorable Quotes:“I think [THE RALLY] is really relatable. I think anyone has their own story that it reminds them of or might remind them of.” “We were just about to shoot the first shot, and this isn’t a joke, and we had a line of about 50 nudists.”“If you’re too close to something, even if you’re writing a song, if you write something that hurts a bit too much, it’s not going to be as great if you can look at it with hindsight.”“ If we'd made a film and they were like, that's not how two women...talk to each other, that's great because then we've learned something” “Somebody is going to take this as an app idea, but you should connect musicians with filmmakers.”Links:Watch THE RALLY NowFollow Jake On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

This conversation could have gone on for another few hours. I felt so blessed to chat with a kindred spirit about raising the profile of independent filmmakers, Hope Lawson. Hope founded Takeout LA after finding herself in the filmmaking business. She also works for Gersh so this episode opens up discussions I’ve been dying to have on the podcast. Takeout LA is a film screening series and it’s also a party, which come to think of it, is what this episode is like. In this episode, Hope and I discuss:Does Hollywood still get its drink on?The origin story of Takeout LA and what the submission process is like;How she got her start in filmmaking;Breaking in — are people still willing to take those 345 AM wake up calls or is the issue the jobs aren’t available?Making money after film school; What is happening at agency film festivals — and the first use of hip-pocketing on the pod — and who is being signed at agencies right now;Why Gersh must love her creation of Takeout; How crucial her diverse screening committee is for the success of Takeout; What constitutes a great short?Los Angeles’ place in indie films and how it competes as a character in films;What’s next for her — including, fingers crossed, a Hope Lawson film;The platform that rises above the rest for short films;If filmmakers can be a bit too twee with their films and what is “social chess”;Whether social media has made film sets better or worse. Hope’s Indie Film Highlight: FORMER CULT MEMBER HEARS MUSIC FOR THE FIRST TIME (2020) dir. by Kristoffer Borgli — Watch NowMemorable Quotes:My former boss told me when I started, I came in and I was just hungover…”if you get sober before the age of 40, it'll be detrimental to your career.”“ I started Takeout right when I got to my agency job when I started as an assistant. And coming in, I immediately realized like all of my friends that do creative things, they hold these networking events, but it's all creatives. And we hold these networking events and it's all business people. There's no low pressure way for creatives to show their work to up and coming young people in the business.”“ And I got a job as a COVID PA, very glamorous. It was my job to get there at 3:45 AM and greet all of the really happy people on this freezing cold ranch.”“ For the first time in five years in Hollywood, I'm no one's assistant. It's great.”“When you go to school for this and you're promised like this kind of easy path up, it's a lot harder to motivate yourself to do like truly grunt work.”“There's the flip side of the coin, if you're too good of an assistant and you start feeling like, oh, this is where they want me forever, it's time to go.”“You are always your first agent.”“I think bringing young creatives into that kind of bubble where everyone's young and hungry now and we can't really do much, but once we're recognized and we get a little bit more power, we're gonna remember all the people we met when we were young and hungry, and we wanna make those movies.”“So a good short makes me care about the people in it and wonder when it ends.I don’t need to know the whole story. I need to want to know.”“ We do a q and a after it's just kind of me up there cracking jokes and trying my best.”“The motto of me is I love to help.”“You can cool kid yourself into no one seeing your work ever.”Links:Follow Takeout LA On InstagramFollow Hope On InstagramSome of the films that were screened at Takeout:MIRIAM (2025) dir. by Josie AndrewsFUCK THAT GUY (2024) dir. by Hanna Gray OrganschiCONFESSIONS (2023) dir. by Stephanie KaznochaMY BRIEF CONVERSATION WITH THE DOJ (2024) dir. by Luke StricklerITS SNOWING IN THE SUMMER (2021) dir. by Gladimir GelinA KIND FAVOR (2024) dir. by Christian Klein and Mattias EvangelistaThe Cursed Sea (Il Mare Maledetto) dir. by Eliana Victoria AlcouloumreRABBIT (2024) dir. by Carson Culverhttps://app.frame.io/presentations/82412715-685c-4820-91ee-82b6e6fa11a0BETWEEN GIGS (donSMITH Visual Album) dir. by Brittney BriggsTHE DEATH OF ART SLOB (2023) dir. by Ahmar AhmadALIEN IN LOVE (2024) dir. by Corrinne James Support 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: ADAM THE FIRST (2024). Director: Irving FrancoWriter: Irving FrancoCast: Oakes Fegley; David Duchovny; T.R. KnightSYNOPSISAfter finding a list of names and addresses, 14-year-old Adam sets out across the country to meet a series of men who could be his father.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, Lee Knight, won Best Director at 2025's HollyShorts for his stunning film, A FRIEND OF DOROTHY (2025), but you wouldn't know it because as you just heard, his thoughts are with the indie filmmakers still out there struggling. That sounds exactly like my type of filmmaker to host on the podcast.A FRIEND OF DOROTHY could be described as "a lonely widow's quiet life is upended when a teenage boy accidentally kicks his football into her garden", but that doesn't do justice to the casting, the lighting, the cinematography, and the music of this short. It's brilliant filmmaking from a man who worked his way up to making it, and I'm so glad to have him on the show to celebrate his success and talk about how he made it happen.In this episode, Lee and I discuss:after winning best director at HollyShorts, what he wished he knew before the festival run started;how he got started in filmmaking, initially honing his craft as an actor, and if he has one favorite;actors' relationships with older actors and whether it's something he's uniquely talented;why he waited for A FRIEND OF DOROTHY to be his directorial debut;if rejection is different as an actor versus a director;what he wants people to be thinking of when they watch his first film as a director;why he set up the film the way he did, with an intro that "plays with the audience";the runtime of 23 minutes and its reaction from programmers;the brilliant casting of the film and how his judgment as an actor influenced the final decisions;the consul general hosted a party for British filmmakers in Los Angeles. Can the UK do more to promote its filmmakers?what's next for this uniquely talented filmmaker.Lee's Indie Film Highlights: 22+1 (2025) dir. by Pippa Bennett-Warner; COOL BOY (2024) dir. by Peter Bjerre SallingMemorable Quotes:"I look back on my career as an actor and I think there was always there was always a writer director there, even when I was training. And I think it's because of ownership of story.""I also think that the film highlights a kind of safety that older people give, and specifically older women and as a gay man, and I think a lot of gay people say this...we always loved and felt very safe with older women. ""You have to be forced to dig deep because every time you are rejected, it's the same as an actor, every time you are rejected, if you stop, you just are missing out on digging that bit deeper to kind of really push forward." "When did you want to be a filmmaker? And I think I didn't, I wanted to be everything -- a storyteller in every sense, whatever medium it takes." "I actually don't think it's my job as a director to know about lenses. My job is to have people that are experts in that field and then we collaborate.""You've got to surround yourself with people you trust who are not going to feed your ego.""I really believe that you've got to aim high with actors because if they connect with your story...they don't do short films for the money...they will do it if they really believe in the story.""If you need to really get an actor to feel safe and vulnerable...it's a bespoke job."Links:Follow Lee On InstagramFollow A FRIEND OF DOROTHY on InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeHis feature film, SOMEWHERE WITH NO BRIDGES (2020)? Too short, he was told. His award winning short film, SHANTI RIDES SHOTGUN (2025)? Also -- too short! What the world is telling my guest, filmmaker Charles Frank, is that we need to see more of his lyrical vision of the world in the documentary space. His awards and credits in the indie space -- an incredible 10 Vimeo Staff picks, New York Times and New Yorker films, he runs his own production company called Voyager -- only serve to cement this point of view.I'm hoping he will be able to balance fatherhood with the challenges of deeply original filmmaking. As you'll see in this conversation, he's one of the best out there in the new generation of documentary filmmaking.In this episode, Charles and I talk about:the importance of family in his filmmaking and how it has evolved now that he is a father;how he got started in filmmaking (if you have the stapler video, lmk);his decision NOT to attend NYU after being admitted -- and still being successful;how film school graduates pay their student loans;10 Vimeo Staff picks, NYT, New Yorker -- what was the most important honor for his career?Richard Linklater's advice during the SXSW's filmmakers' brunch;his doc feature debut, SOMEWHERE WITH NO BRIDGES (2020);his reaction to the New York Times' review of the film and how I feel that critics too often can pile on indie filmmakers;life as a director married to an editor willing to kill his darlings;his SXSW film, SHANTI RIDES SHOTGUN (2025) and his upcoming Oscar campaign for the film;how he shot a film about a driving instructor in New York City(!) -- it's a crazy story;what his companies, Voyager and Leap Year, do;how he judges a project when a director comes to him -- socials? film school?;how you should never send Charles a templated email (not saying this would work, but if you sent an original email saying you listened to him here and personalized it just a bit, I'm guessing you'd get a response);does he worry about AI?;what Portland is like for indie filmmakers;his upcoming documentary, FATHERHOOD;how brandwork is different versus a general audience in terms of what they like.Charles Indie Film/Filmmaker Highlight: Sam Davis; DICK JOHNSON IS DEAD (2020) dir. by Kirsten JohnsonMemorable Quotes:"This is what like life is about. When we share that all together and it's captured on the camera, it's like the most majestic, magical stars aligning feeling.""When we get positive reviews about the film, it's almost always about the pace of the film.""I forget who said it, but AI shows us what art without soul looks like."Links:Follow Charles Frank On InstagramVoyager'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: GOODBYE, HELLO (2024).Director: Jack Cooper StimpsonWriters: Jeremy Ford; Bec PittardCast: Steve Guttenberg; Nancy Linari; Hollie BaharSYNOPSISNate Ryan returns home to Bundy Canyon to visit his dying father; Nate opens old wounds in an attempt to make peace with his incredibly unpeaceful father.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 YouTubeThat’s my guest, Alex Salam, with one of the most riveting reasons to become a filmmaker I’ve ever heard. Given their significant training, it’s practically impossible to do, but I wish we had more doctor/filmmakers in the world. From those that I’ve seen, they’ve produced work that is equal parts precision and creativity, the perfect combination of soul and mind. Alex’s film, TWENTY TWENTY (2025) certainly does that — it’s “set over one brutal night shift at the height of the COVID pandemic and shows a very seasoned doctor’s emotional transformation” — and I feel so grateful we have filmmakers like Alex making art. In this episode, Alex and I talk about:How a medical doctor + film director relates to other filmmakers — are people curious?;Balancing his passions for medicine and filmmaking;The existential crisis to do “something artistic that is an expression of myself”;Whether he’s surprised there’s not more doctors/filmmakers and the quality of stories from the field;How his questions about moral character and medicine influence his filmmaking;The push and pull of methodical planning and precision inherent in the medical profession and creativity;What makes a great short film;The subtlety of his film, TWENTY TWENTY, and how he found his cinematic pace;The reaction to the audience of its screening at the Edinburgh International Film Festival;The importance of setting the sense of place;What he’s taken away from all of the labs and fellowships he’s been a part of;What his representatives at The Agency will do for his writing and directing;His next films.Alex's Indie Filmmaker Highlight: NFTS Sean Connery Lab ShortsMemorable Quotes:“What medicine has done for me as a filmmaker, it gives you a good understanding of character and emotion.” “You have to be clinically insane to go straight to a feature without having done a short or worked on TV.”On what makes a great short: “Have a beginning, a middle, and an end to a story.” “That’s an advantage…if you’re making a drama set in hospital, it’s a shortcut.”“ The kind of collaborators that I like working with that are important for me to work with [are] other collaborators who can be a little bit vulnerable.”Links:Follow Alex On InstagramAlex Salam's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeThe tagline of the podcast is “the future of filmmaking.” I don’t think you can earn that without hosting my guest, Elliott Hasler, who began his filmmaking journey at the age of 10.Fifteen years later, he’s two features in, the latest being VINDICATION SWIM (2022), a biopic around Mercedes Gleitze and her attempt to become the first British woman to swim the English Channel. Big period pieces aren’t what you’d expect him to take on, but that boldness is partially, he acknowledges, why he’s been successful. He also has a keen sense of the business of film, writing for the film festival Raindance about “What It’s Like to be the UK’s Youngest Film Director.” Elliott is here today to share his unique insight. In this episode, Elliott and I talk about:His unique start at filmmaking at the age of 10(!) and whether something like that is made easier through YouTube and online tutorials;His article “What It’s Like To Be UK’s Youngest Film Director” and what he’d change about it looking back six years; How he related to older filmmakers at 16 and his advice for young filmmakers now;Encouraging the youth movement in filmmaking;How people should feel when they watch VINDICATION SWIM;The challenges of shooting at sea without a green screen or a tank and what drew him to spending his resources on that part of the film versus other elements;Whether he’d use AI in a future film;What he’s learned about in the world of distribution;Whether he’s interested in producing films;What a bottle film would like from him, coming from period pieces;How to make a unique short film;Breaking away from the festival circuit and branding of the system;Whether he feels pressure to have a large presence on YouTube, TikTok and social media; Differences in US and UK filmmaking;What’s next for him.Elliott's Indie Film Highlight: WITCHFINDER GENERAL (1968) dir. by Michael ReevesMemorable Quotes:“What sets this film apart is the fact that it is all real.”On nepotism: “if it’s going to make your life easier to get into something, then why not; I certainly would’ve used it, it would’ve made my life a hell of a lot easier.”“ Making the film is 50% of the journey and then releasing it is the next 50%.”“ What you always wanna strive for in a film is to take audience somewhere where they've never been before.” “ Always aim big. And then you can always temper your expectations a bit. But if you start out too small, then I think you're selling yourself short.”“ In terms of AI, I think essentially what it will be good as is sort of a big cost cutting exercise.”Links:Follow Elliott On Instagram“What It’s Like to be the UK’s Youngest Film Director.”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: THE GRAND SEDUCTION (2013).Director: Daniel AndreScreenplay: Daniel AndreCast: Brendan Gleeson; Taylor Kitsch; Liane BalabanSYNOPSISResidents of a small fishing community in Newfoundland charm a doctor into becoming the town's full-time physician, in order to secure a vital factory contract.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 haven’t done a how much I love New York City episode in a couple weeks, so the indie smash, OR SOMETHING (2024), and the film’s director, Jeffrey Scotti Schroeder, makes for the absolute perfect guest. Why is the film being extended at Quad Cinemas? What does it say for indie filmmakers that the Substack crowd got so behind this film? Is it repeatable? Let’s hope so. And if you haven’t seen it at the time this airs, go see it through September 4th. Or later, if we keep talking about it.In this episode, Jeffrey and I talk about:The word of mouth success of OR SOMETHING (2024), whose theatrical run was extended through September 4th;His origin story — a true OG throwback to William Morris mailrooms;What makes a great agent?What to expect when you watch OR SOMETHING;How he wound up attached to the film, written by comedy stars Kareem Rahma and Mary Neely;What the six day, ultra-low filmmaking process was like and how filmmakers get the knowledge of avoiding dudes in golf carts in New York City;How the film blew up on blogs + NYC social media and whether it’s repeatable in cities with a clear sense of place (warning: some Los Angeles indie film bashing in this answer);Whether there’s infrastructure to make more of these films in NYC; How much it matters making investors whole to make your next film;Whether local government could get behind a gritty NYC film like this;What’s next for him — it involves surfing and Rio. Jeffrey’s Indie Film Highlight: THE SWEET EAST (2023) dir. Sean Price Williams Memorable Quotes:“The good agents would have a really hard and fast rule that they’d return everybody’s call at least the same day.”“If you like your classic New York City walk and talk film and if you don’t mind two people talking the entire movie….then you’ll like it. If you don’t like that type of movie, you’re not gonna like this film.”“Hey, do you wanna do this ultra low budget feature? They were, what’s the rate? And I told them…like..nothing.”“Whereas New York people are just mind your fucking business on both ends, like we’re filming. And then we’re in their space, excuse me, can you, they’re like, mind your business. It’s New York City.”“If you’re leading with the idea of profitability, it might not come to fruition.”“Word of mouth is definitely the only way because we have a $0 marketing budget.”Links:Follow Jeffrey On InstagramFollow OR SOMETHING On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Brilliant in acting. Brilliant in producing. Brilliant in executive producing. Brilliant in...directing? Let's hope so. Given her extraordinarily body of work, most recently in front of the camera in Gil Henry's PAS VRAIMENT ORDINAIRE (2025), we can only hope my guest, Floriane Andersen, will be in the director's chair soon. She certainly has made the opportunity for herself; the production company she co-founded, Artak Pictures, has six projects in the works, two of which she is slated to direct. She is not only forging ahead, but creating a path for others to follow.In this episode, Floriane and I discuss:Her origin story and what the words “French actress” means to her;Why her production company takes on underrepresented voices;Whether she casts based on social media followings and trends;Working with first time female filmmakers versus people who may already know how the system works;Whether she sees other production companies in the championing female voices space as competition;As an actor, producer, and executive producer, how does she approach festivals like Edinburgh and Locarno;How actors can best take advantage of attending film festivals;Her advice for filmmakers just starting out and specifically for French filmmakers;What’s next for her — SIX features! — and she’s attached as a director for two of them.Floriane’s Indie Film Highlight: TWO NEIGHBORS (2025) dir. by Ondine ViñaoMemorable Quotes: “I’m a storyteller, first and foremost.”“Females voices are underrepresented in the film industry so we will focus on that as long as there is still disparity. But hopefully this is not even going to be a subject soon and we can focus on other underrepresented voices.” “Sometimes festivals are not very actor friendly.”“I don’t see it as work, even if it is a lot of work.”Links:Follow Floriane On InstagramFollow Artak Pictures 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: RUNNING ON EMPTY (2024).Director: Daniel AndreScreenplay: Daniel AndreCast: Lucy Hale; Keir GilchristSYNOPSISMort discovers he has less than a year to live. After his fiancé leaves him, he meets Kate on a dating service that matches people by their death dates, all while being stalked by a crazy pimp.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

When you prepare, special filmmaking tends to happen. That’s the case with my guest, Jordan Murphy Doidge, and his new film, CLOUT, which premiered at HollyShorts. It tells the story of a lonely teenage boy who risks everything to prove himself in a bid for online fame. In the wake of Netflix’s hit ADOLESCENCE (2025), CLOUT has resonated with nonprofits and theaters in the United Kingdom. And as the reviews have shown after its world premiere, that’s likely to spread. It’s phenomenal filmmaking that was made possible by being prepared.In this episode, the early arriving Jordan and I talk about:How his team achieved the incredible reach of CLOUT in terms of screenings and partnerships with nonprofits;A director’s ability to relate to a story, whether it’s because of age or background, and how that matters in filmmaking;His origin story and his sweet yearly tradition with his mother and films;How brand work for luxury brands differs from his journey into narrative filmmaking;Whether luxury brands should pursue a singular, trusted voice or always keep everything competitive;Why he chose to bring CLOUT to HollyShorts and how his work with brands helps with promotion;His next project and what it’s like working in London.Jordan’s Indie Film Highlights: CALM WITH HORSES (2019) dir. by Nick Rowland; SHE RIDES SHOTGUN (2025) dir. by Nick RowlandMemorable Quotes:“ I just feel like I've probably been a storyteller for a very long time.”“It’s all been in the prep.”“ When you are working with people that truly love cinema, like the real cinephiles you'll spend days just talking about stuff that no one will ever see or get in the film.”“ When you prep enough, it gives you the confidence to dance to the rhythm.” Links:Follow Jordan On InstagramFollow CLOUT On InstagramCLOUT WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Most people choose (relatively) comfortable and safe topics for their first films. A bank robbery over here, a meet cute over there. My guest, Kristen Gerweck Diaz has chosen Ramadi, Iraq, a phone booth on an ocean cliffside, and her newest, MILK BABY (2025), about a woman’s entry into a maternity home and the sheer enormity of breastfeeding. These are not what you’d call easy topics. But for this lawyer turned filmmaker, she’d never sign up for the easy path, anyway. In this episode, Kristen and I discuss:How people encounter the film based on their familial status and whether their reaction surprises her; The best way to expand stories that are specific to a certain audience and making them universally appealing;What her legal degree from UCLA brings to her filmmaking;How she sets herself apart with challenging short filmmaking and running a set while keeping everyone involved and valued;AI in short filmmaking;How she’s not on social media and what that means for her films and the people she casts — can actors afford to be off social media, too?;What’s next for her.Kristen’s Indie Film Highlight: OPEN YOUR EYES (1997) dir. by Alejandro AmenabarMemorable Quotes:“ I could always get a B on an exam even if I didn't go to class and didn't memorize all the law. Because 80% of the analysis is your storytelling and your creative thinking.”“ Do what people are telling you is not possible because it always is.” “ [AI] is like the internet, it's not going away, right? It's here to stay and it's gonna advance. And so how can I use it? But in the way that I wanna tell stories that do not compromise.”“True wealth is the amount of time I can spend offline.”Links:Follow MILK BABY On InstagramNew Current InterviewSupport 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: HELLO I MUST BE GOING (2012).Director: Todd LouisoWriter: Sarah KoskoffCast: Melanie Lynskey; Christopher Abbott; Blythe DannerSYNOPSISA divorcee (Melanie Lynskey) moves back in with her parents and begins a clandestine affair with a 19-year-old suitor (Christopher Abbott).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 BONNIE (2022) NowThere’s so few people involved in the film industry that can be referred to by just their first name, but in the case of my guest, Bonnie Timmermann, she is one who achieved that honor. If I asked you to pick 20 films out of the last 25 years, I would bet around 5 would have been cast by Bonnie. The documentary, now available for streaming, BONNIE (2022), is a must-watch.We go beyond the doc to talk about what she wish was covered, representation in casting, how directors and casting directors should look at TikTok and YouTube influencers, and more. In this episode, Bonnie and I discuss:The challenges of insincerity for a casting director;How she got started in casting and whether it’s teachable;What the documentary on her life missed from her perspective;Representation in casting and when to use an actor (or not use an actor!) of a specific type;How she decides whether to work with a director or not;Whether in person casting translates to performance on film;How directors should look at casting TikTok and YouTube influencers;The difference in casting men and women;Did she feel like she got a casting decision wrong?Epic story about actor Ben Foster taking on a Ridley Scott film;How she casts accents;What’s next for this amazing casting director. Bonnie's Indie Filmmaker Highlight: Brian SwibelMemorable Quotes:“I’m an emotional person. I'm terribly sensitive. I can be funny at times. I think humor helps you always. So yes, I think the darkest side of me helped me to see the darkest and the lightest sides of actors.”“I used to say, and it was true, if you find me, I’m yours because I would never list myself in a phone book or one of those books where you can find people.” “You are really the first director. You are directing the actor on film yourself, and you wanna get the best out of them so that when your director sees their work that they get a really good shot.”Links:Watch BONNIE (2022) Now Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Let’s put it down right now: Brook Linder has the branded content hit of the year, with his weekly promos for Everybody’s Live With John Mulaney. Vimeo put it out as its own thing, and once you turn on the compilation of promos, you can’t turn it off. It’ll be running on repeat in your head. I warned you.We go deep in this episode in getting banned from Springfield, Missouri high schools, not just for his film crew but every film crew afterwards, early Kickstarter, what it’s like making branded content, and so much more. As Brook says, let’s go ham.In this episode, Brook and I talk about:Those epic John Mulaney ads (so rewatchable) and why they are the branded success of the year;How hard was it for him to give up editing;Did his viral success surprise him or was it just the culmination of all the work he put in?How shooting on film can be a crutch;The expectations when brands call him and how it differs from his personal aesthetic; What music video shoots are really like;His origin story — fellow Missourian!;His first short, GHOUL SCHOOL (2013), its Kickstarter campaign, and the film that got him kicked out of filming in the Springfield high school system (and everyone else going forward);How he does brand work and getting his name out there without pissing his clients off;The possibility of an AI Brook Linder video?Whether this viral success has helped him with his own projects;His new documentary on the band, someone still lives you boris yeltsin, and their trip to Russia;How much we love watching trailers but the economics of it — it’s tough!Brook’s Indie Film Highlight: ARCADIAN (2024) dir. by Benjamin BrewerMemorable Quotes:“ We'd blow up a classroom, right? Go ham, and the school would kick us out. ““ You need to empower an editor and say, Hey look, you gotta make this yours. You gotta tell the story that makes sense to you and not work with the bones of whatever I thought I was gonna do.”“ I have used film instead of having a very clear concept. I'm a music video guy, so there's a lot of flash involved. Okay. So I've used film when I thought eh, can I be a filmy vibe?”“Some artists really want them and because it feels if you don't have a music video, you aren't minted in some way.”Links:Follow Brook Linder 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: KAJAKI (2014).Director: Paul KatisWriter: Tom WilliamsCast: David Elliot; Mark Stanley; Scott Kyle; Ali CookSYNOPSISHelmand Province in Afghanistan, 2006. A company of young British soldiers encounter an unexpected, terrifying enemy: a dried-out river bed, and with every step the possibility of an anti-personnel mine that could kill.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

You’d expect comedy out of a comedian turned actor and then director, right? Think again. My guest, filmmaker Ali Cook, turns what you’d expect upside down. So far, he’s written two short films, directed one, and is working now on his first few features. He acted in a truly phenomenal Afghanistan war film, KAJAKI (2014), sometimes known as Kilo Two Bravo, and he’s got more insight than we could possibly cover in 30 minutes. I tried to keep my laughter to a minimum, but come on. Go watch his films. Ali is talented and funny. In this episode, Ali and I discuss:What his goals are for an exquisitely filmed short film in THE PEARL COMB (2025) and previously THE CUNNING MAN (2019);How a comedian and magician in Britain became an indie film actor, writer and director; His website lists his skills as directing, writing, producing, acting — does he have a favorite?What he took away from his first short film;Whether a high profile social media account helps his indie filmmaking career — “I think it’s a little bit different in the UK”;What to expect to see when they watch THE PEARL COMB and how he structures his films like a magic trick;How he brings the showman’s ability to filmmaking;What draws him to the Victorian look for his filmsHis experience of watching his films in a theater and with an audience;The “awful” game you are playing trying to find honest feedback for a film;The clues in THE PEARL COMB that explain the ending;The best compliment you can give a short film — you have to rewatch it;How deflating it must be for a film with a big festival run to just be uploaded to YouTube;The brilliance of KAJAKI (2014) as a war film and his reflections on the film;what's next for this talented and funny filmmaker.Ali's Indie Film Highlights: KAJAKI (2014) dir. by Paul Katis; THE SCHOOL DUEL (2024) dir. by Todd Wiseman JrMemorable Quotes:“The structure of a one-man show is very similar to a film, really. And then I just realized there was a lot of inherent skills that I knew, the most brutal one being, having a pretty good sense of when people are getting bored.”“ I think my least favorite is producing. But you need to be a great multitasker and I'm not, and you have to have excellent people skills of which mine are debatable.” “ The game of a comedian and the game of a magician is to paint thoughts in the audience's mind via assumption. So every joke is when you shatter an assumption.”“I actually watch the audiences. So when the surprises are coming, I like to watch someone two or three rows in front of me, and I like to see if they're gonna jump or not.” “ The ending ideally should be surprising yet inevitable.” Links: Follow Ali On InstagramFollow THE PEARL COMB On InstagramAli Cook's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeI feel like this would be a good plotline for a gonzo Mission Impossible movie: make romcoms and comedy dramas relevant again. In one sentence, my guest, director and podcaster Charles Hood, declared “comedies and comedy dramas are dead, sadly” but also came back in the next few sentences with the announcement, I’m releasing a romcom feature later this year. This sounds exactly like a challenge, if you choose to accept it, for one of the co-hosts of the official Mission Impossible podcast. And here’s to thinking he’ll be successful. In this episode, Charles and I talk about:His journey to hosting the unofficial — and then the official — Mission Impossible podcast, “Light The Fuse”;Why more filmmakers aren’t podcasting and what it takes to be successful in the medium;How he got his start in filmmaking;Should you make a microbudget feature like Charles’ first film, FREEZER BURN (2007), or a great short film?How he found himself in the comedy-drama romcom space;The ten year anniversary of NIGHT OWLS (2015), his reflections on the film, and his focus on screenplay structure going into making the film; His work at go90, a Verizon “mobile-oriented social entertainment platform” (who knew about that?!);The value of structured, well written script;Whether the official MI podcast helped him get “above the noise”;When we should expect his next project, THERE SHE GOESHow the vote of actors participating in an indie film project is so important.Charlie’s Indie Film Highlight: Josh Greenbaum; GHOST BOY (2025) dir. by Rodney Ascher; THE NIGHTMARE (2015) dir. by Rodney Ascher; A GLITCH IN THE MATRIX (2021) dir. by Rodney AscherMemorable Quotes:“ We always talk to everybody about Tom Cruise's hairstyle, their favorite haircut from the different movies. And we also would jokingly talk about how we're in a golden age of dog cinema because there were a lot of dog movies that have come out in the last 10 years.”“ If you're gonna do a big short with a real budget, you might as well try to figure out how to squeeze that budget into a feature and do a feature.”“Comedies and comedy dramas are dead, sadly.”“ Actually if you make a romantic comedy, you get to sneak in a lot of character work that you wouldn't get to do in a lot of other genres.”“We learned a lot over those years, writing studio comedies and learning structure and that applied to this movie that is mainly just two people talking.”“So I’m still chasing that feeling again of making NIGHT OWLS.”“They always say that, you have to know the rules before you can break them. And I was breaking them on FREEZER BURN without knowing them.”“What Tom Cruise is all about is….serving the audience.”Links:Follow Charles On InstagramWatch Indie Film Highlight: NIGHT OWLS (2015)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content