The Working Director

How do you get the most out of your production studio rental? How do you make the most of your studio rental? How many times have you rented a stage only to be nickle-and-dimed by the owner? How many times have you arrived and realized the studio wasn't exactly what you thought you wanted or needed? Whether it's green screen, white cyc, build sets, you are spending those hard earned dollars for the day(s) there. You may not realize there is a better way.  Long time studio owner, speaker, and filmmaker Bob Bekian is going to share  insider secrets to help you have a better production day and get the most bang for your buck. He's going to share some of the crazy things he's seen on sets...and how to avoid ruining your production and wasting precious time and money. (Episode 57) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when the next accelerator goes live and other fun events fill out the form on our website at ⁠⁠⁠⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Bob: Originally from Venice California, Bob Bekian was one of the original Dogtown skateboarders in the 1970’s and  has kept that “go for it “ attitude throughout his  life business career. Bob started his career selling industrial contracts for Billion dollar companies and learned how big corporations operate.  Bob learned the lessons of business first hand and then was recruited into the media industry taking over a $5 Million annual revenue SONY distribution company and building it to $35 million in 3 years.  His innovative approach landed contracts with clients such as the NBA and Disney. From there he built his own companies including Pro HD Rentals , Spotburner and Loyal Studios. Evolving into producing and directing, Bob has completed over 1000 projects in 15 years ranging from pharma commercials to Snoop Dogg music videos. Bob continues to run his media companies and has evolved into developing a self-development platform (bobbekian.com) which focuses on Mind/Body and Spirit motivational content. Bob is very proud of his family including his wife of 35 years Sonia and his two grown sons Shane a business litigation attorney  and Bryce who owns a digital advertising agency. Bob is an avid outdoorsman and enjoys  skiing, golf and pickleball.

Six common reasons film festivals reject your film with Dr. Rebekah Louisa Smith, Founder of The Film Festival Doctor. One of the hardest things to deal with as a filmmaker is film festival rejection. You worked so hard to make that piece of art, why don't they love it?!?!? We're going to go into six common reasons your film was not selected. We are also going to talk sustaining your mental health during your film festival season. (Episode 56) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when the next accelerator goes live or when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) and other fun events fill out the form on our website at ⁠⁠⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Dr. Scott: Dr. Rebekah Louisa Smith is an award-winning film festival strategist and founder of The Film Festival Doctor. Rebekah and the hard-working team behind her company are committed to nurturing filmmakers in order to help them secure film festival screenings, win awards and earn positive recognition within the film industry. Currently, her company has won more than 2,000 awards for its clients and has supported nearly 850 creatives across the world, enlightening and inspiring their journey towards achieving their goals and following their filmmaking dreams. They have secured hundreds of festival screenings including the Tribeca, Palm Springs, Sundance, & BFI London Film Festivals, to name a few. In her latest e-book, Film Festivals & Looking After Your Mental Health, she offers essential tips and techniques on how to adapt the right type of mindset and take care of yourself as you navigate the world of film festivals. Instagram handle: https://instagram.com/rebekahfilmdrOfficial Site: https://www.thefilmfestivaldoctor.com/

It doesn't matter if you are an aspiring director or a veteran, there is a non ending question of "HOW AM I GOING TO GET PAID TO DIRECT?!" In this live Q&A conversation we give you some ideas on how to do just that. How do you get clients/brands to work with you? How do you use TikTok to grow your directing career/video biz? How do you keep getting asked back? And more! (Episode 55) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) and other fun events fill out the form on our website at ⁠⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Katie Hunter: Katie Hunter is a Chicago Emmy-nominated director. She creates commercials, short films, documentaries and viral moments for brands including Claire’s, Lincoln Park Zoo, Northwestern Medicine and more. Her creative work has been featured in the Washington Post, staged off-Broadway at the Cherry Lane Theatre in NYC and viewed by more than 15 million people on TikTok. Katie graduated from the University of Chicago where she studied theatre and film. After working as a playwright for the American Theatre Company, Katie began writing and directing indie film projects with comedians from Second City, iO and Reductress, including an improvised mockumentary web series, RideShare, a surrealist, feminist corporate comedy, It’s A Sign, and the first several episodes of a late night talk show filmed live in front of a studio audience, The L8-Bit Show. DM her your cool ideas at @mkatiehunter on all platforms. Katie's TikTok & Instagram: @mkatiehunter See Katie's work at KatieHunterCreative.com

Directing Comedy with Emmy-Award-Winning Comedy Director Mary Lou Belli. Some things we cover: -How do you tackle blocking a multicam show? -Who’s close up do you do first? -How important are reaction shots? -How can you find the comedy beats in a script? -How can you help actors find & perform  the comedy beats? -How can an editor save your comedy? -How much blocking prep should you do? -How can you work with an actor who wants to do different blocking than you need? -What’s one of the first things you should do on a new set?   (Episode 54) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Mary Lou: https://www.maryloubelli.com/ Two time Emmy award-winning MARY LOU BELLI has been directing television for over 30 years including NCIS New Orleans, True Lies, Black Lightning, Bull, Legacies, Station 19, Sweet Magnolias, Pitch, Monk, Famous In Love, Devious Maids, The Quad, American Woman, and Hart of Dixie as well as Disney’s The Secret of Sulphur Springs, Ms. Pat, Wizards of Waverly Place, Sister, Sister, Girlfriends, and The Game. Her short film, Straight Eye for the Gay Guy won “Best Mini-short” at the California Independent Film Fest where she also premiered I Heard Something, a thriller that went on to play fests internationally. She has done ground-breaking work on web-series. Her award-winning short, America, played its 14th fest on its 4th continent at The Hague and won best micro short. She was recently nominated for a Primetime Emmy for Comedy Directing as well an another Emmy in the Children’s Programming category. Mary Lou served two terms as the Co-chair of the Women’s Steering Committee at the DGA where she also has served on the Western Director’s Council, presently she is on Leadership Council PAC and as an alternate to the National Board. She is an Honorary Board member of the Alliance of Women Directors and Advisory Board member of Women in Media. Mary Lou also serves on the Advisory Circle of Film Fatales is and a long time member of Women In Film as well as the Peer Group Executive Committee of the Academy of Television Arts & Sciences where she presently serves as one of the Governors. She has served as judge and/or guest speaker for the CSU Media Arts Fest, a judge for the Miss America Outstanding Teen Pageant, a jury member at the Sapporo Short Festival, Newport Beach Film Fest, Regina International Film Festival, and The Voice awards, a lecturer at the Chautauqua Institute, and a panelist for Women In Film, the DGA, SAG, and AFTRA and the LA Times Festival of Books. She has been a guest artist at the International Thespian Festival for secondary school theatre where she gave workshops to thousands of teens and high school theatre teachers. Through her teaching, she supports many of the vibrant diversity programs including ABC/Disney, CBS, Sony, HBO Access, AFI’s Directing Workshop for Women, and Warner Bros. Directing Workshop mentoring the next generation of directors. She is the co-author of four books: “The NEW Sitcom Career Book,” “Acting for Young Actors,” and “Directors Tell the Story” which she co-wrote with fellow DGA member Bethany Rooney. Her 4th book, “Acting for the Screen” was published by Focal Press summer 2019.

How do you know what film festivals to submit to? How do you get the attention of the programmers? Why should you volunteer at festivals? Should you hire a publicist, and if yes, how do you know who is right for you? That and more on this episode with producer and festival programmer Jon Fitzgerald. (Episode 53) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Jon: Learn how to submit to the right film festivals, get on the radar of programmers, create effective marketing materials, maximize your festival participation, pursue the best distribution model, and take your career to the next level.  We are going to touch on the topics Jon covers in his new book and accompanying workbook in this live discussion and Q&A with Jon Fitzgerald. Jon has twenty-five years of experience in independent films and film festivals. He has produced award-winning documentaries and has led many independent film projects through the maze of festivals and hybrid distribution models. As a Festival Director he has run several top tier festivals and has consulted on dozens more. Jon has also led acquisitions for several streaming platforms, and now curates movies and series for Cause Cinema. He authored the leading social impact filmmaking book, Filmmaking for Change: How to Make Movies that Transform the World, and also teaches two popular web based courses: Film Festival Mastery and Film Distribution Mastery.   key links: https://www.causepictures.com/ https://onthefestcircuit.substack.com/ https://www.filmfestivalmastery.com/replay-2

How do you answer the dreaded "So, tell me about yourself"? What should you have prepared for your project pitch? How many projects should you have in your back pocket? What materials should you bring in? How do you engage the room, and why are you pitching the room not the project? That and more on this episode with producer Stu Pollard.   (Episode 52) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Stu: Filmmaker Stu Pollard has produced 9 films in his home state of Kentucky, including survival thriller RUST CREEK, powerful high school drama AND THEN I GO, and bowling comedy SPLIT. He has produced more movies outside the Bluegrass as well. These include the uproarious Jack Quaid & Maya Erskine wedding rom-com PLUS ONE, Syrian refugee documentary THIS IS HOME, and docu-drama FREELAND, starring Krisha Fairchild. Stu has also directed two features: romantic comedy NICE GUYS SLEEP ALONE and suspense drama KEEP YOUR DISTANCE, both set against a vibrant Kentucky backdrop. Pollard founded Lunacy Productions in 2015 to expand his storytelling horizons and break free of the “one-at-a-time” indie filmmaking model. This has sparked numerous new collaborations with both emerging talent and established creators. Lunacy’s current development slate includes WE’RE HAUNTED, a horror comedy about dysfunctional roommates confronting an evil spirit; THE MAN WHO KNEW BELLE STARR, a riveting Western-infused revenge drama; THE TRESTLE, a supernatural thriller revolving around an infamous Kentucky legend; and ALAS, BABYLON, a post-apocalyptic survival parable based on the classic novel. Also an entrepreneur, Stu has spearheaded a number of other creative endeavors including the event planning app REUNACY, nostalgic web series THE EIGHTIES EMPORIUM, whiskey lifestyle brand BOURBONALITY, content creation collective SMALL BATCH CONTENT, and philanthropic nonprofit organization TRUNACY. In addition to teaching at Film Independent and USC’s School of Cinematic Arts, Stu recently founded LunacyU, an online educational platform dedicated to teaching the next generation of independent filmmakers. At LunacyU, he currently teaches classes on Film Financing and Cinematic Music. He holds a BS in business from Georgetown and an MFA in film from USC, is a member of the DGA and PGA, and serves on the boards of the Louisville Film Society, the Horse Farm Workers’ Educational Assistance Fund and GU’s Alumni Board of Regents. https://lunacyproductions.com/ Stu's course on financing: https://lunacyu.com   Our essential Indie Film Financing course for independent filmmakers is designed to help you think like an entrepreneur, find the right financial partners, and finish what you start. Through video lessons and supplemental documents, this course will guide you on a transformative journey that will infuse you with confidence, empower you with resources, and put you in the best possible position to raise money for your project. Our Film Music Master Class covers the world of film music from licensing to composers and music supervisors. Music is one of the most confusing, challenging, and expensive parts of filmmaking. This course helps you navigate all of it with 9 sections of on-demand videos to go through at your own pace.    

Ask An Entertainment Lawyer In this new semi-monthly series we let our audience ask any production related legal questions their hearts desire to Entertainment Lawyer & Filmmaker Chris Edgar.  This week, some topics covered:  -What will make a distributor reject a chain of title? -When do you need a release when filming in a public place? -Do you need life rights to make a true life story? -How long do you need to keep production documents? -Is using news based content in your work fair use? -What contracts do you need to use music in your film? To follow along with Chris' YouTube channel on all things entertainment law ⁠⁠⁠subscribe here.⁠⁠⁠   (Episode 51) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Chris: Composer, songwriter, and lawyer ⁠⁠Chris Edgar⁠⁠ has written music for film, theater, TV, and digital series. Edgar has scored award-winning films, including The Breakout: A Rock Opera (Best Screenplay - Vancouver Filmdance Festival, Best Musical Film - Cinema Los Angeles, Best Feature Film - Michigan Comic Con Film Festival), Steve’s Quest: The Musical (Best Animated Series - International Academy of Web Television, Best Music Score - Hollyweb Festival), and Ghost in the Gun (Best Music Score - Crown Wood International Film Festival & Los Angeles Cinema Festival of Hollywood). “Possessed,” a pop song he wrote, won the Best Single award at Shockfest Film Festival. His most recent feature project is “Playing WithBeethoven,” in which the actors performed the film’s score live on set, and which recently made its nationwide theatrical debut. ⁠@filmtracts⁠

How Do You Finance Your Film? How do you find investors? What are the ways to bring money into your film? How do you get a bank loan? How do you get a bond to get a bank loan? What companies do you need to know and how do those relationships make or break your film financing? And more! To get in touch with Jim about his next class where you can learn even more about film finance email: jimholt41@gmail.com   (Episode 50) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Jim: James has 20+ years’ experience as a motion picture Finance and Production executive.  James was the Executive VP of Finance and Production at Benaroya Picture, which recently completed Dangerous, starring Mel Gibson and Scott Eastwood.  The picture was released by Lionsgate in 2022.   Produced and structured the financing on three pictures with Vertebra Films, a private equity investor in New York.  The pictures included Arthur Newman starring Colin Firth and Emily Blunt. The comedy was shot in North Carolina and directed by award winning commercial director, Dante Ariola, and two Eli Roth thrillers, Aftershock, shot in Santiago, Chile, and Clown, shot in Ottawa, Canada.  Clown was directed by Jon Watts, who recently completed Spiderman “Homecoming”, “Far from Home” and “No Way Home”. The pictures were released by The Weinstein Company and sold internationally by Filmnation.    Executive V.P. of Finance and Production at Winchester Capital Management.  Produced and completed the financing for The Men Who Stare at Goats, directed by Grant Heslov. It starred George Clooney, Kevin Spacey, Ewan McGregor and Jeff Bridges.  The picture was released by Overture Films and premiered at the Venice and Toronto Film Festivals.   Executive V.P. of Finance and Production at Samuels Media. Produced and completed the financing for Michael Clayton.  It was directed by Tony Gilroy and starred George Clooney, Tilda Swinton and Tom Wilkerson.  The Warner Brothers release earned six Academy Awards nominations, including Best Picture, Best Actor, and Tilda Swinton won the Academy Award for Best Supporting Actress.  Produced and completed the financing for In the Valley of Elah directed by Academy Award winner Paul Haggis starring Tommy Lee Jones and Charlize Theron.  Mr. Jones was nominated for the Academy Award for Best Actor in the Warner Independent release.  The pictures premiered at the Venice and Toronto Film Festivals.   Executive V.P. of world-wide Finance and Production at Franchise Pictures. Managed the Finance and Production on multiple pictures released by Warner Brothers.  Some of those pictures include The Whole 9 Yards and The Whole 10 Yards starring Bruce Willis; The Pledge directed by Sean Penn and starred Jack Nicholson; Art of War starring Wesley Snipes; The Heist starring Gene Hackman and Danny DeVito; 3000 Miles to Graceland starring Kevin Costner, Kurt Russell and Courtney Cox; Angel Eyes starring Jennifer Lopez; and The In Laws starring Michael Douglas.

Ask An Entertainment Lawyer: FLLCs, Releases, and more! In this new semi-monthly series we let our audience ask any production related legal questions their hearts desire to Entertainment Lawyer & Filmmaker Chris Edgar.  This week, some topics covered:  -When do you need to form an LLC for your film and how long do you need to keep it? -AI – where are we currently at with legal clearances? -What do you need to do to protect yourself for your documentary? -If you have multiple producers on a film should you have multiple lawyers to protect each? Or is one enough? To follow along with Chris' YouTube channel on all things entertainment law ⁠⁠subscribe here.⁠⁠   (Episode 49) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠TheWorkingDirector.Pro.⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Chris: Composer, songwriter, and lawyer ⁠Chris Edgar⁠ has written music for film, theater, TV, and digital series. Edgar has scored award-winning films, including The Breakout: A Rock Opera (Best Screenplay - Vancouver Filmdance Festival, Best Musical Film - Cinema Los Angeles, Best Feature Film - Michigan Comic Con Film Festival), Steve’s Quest: The Musical (Best Animated Series - International Academy of Web Television, Best Music Score - Hollyweb Festival), and Ghost in the Gun (Best Music Score - Crown Wood International Film Festival & Los Angeles Cinema Festival of Hollywood). “Possessed,” a pop song he wrote, won the Best Single award at Shockfest Film Festival. His most recent feature project is “Playing WithBeethoven,” in which the actors performed the film’s score live on set, and which recently made its nationwide theatrical debut. @filmtracts

What is an intimacy coordinator and how can they help you have a safer, more productive set? Whether it's an intimate scene between two actors, a torture or trauma scene, or a scene involving minors, an intimacy coordinator can help you have a safer set and make a better film. Today we highlight this important and lesser-known crew position with intimacy coordinator and actor Chantal Cousineau. (Episode 48) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our Los Angeles green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Chantal: Chantal Cousineau (she/her) is a certified Intimacy Coordinator. Born in Canada, raised in Ottawa, she spent her childhood training in ITF Tae Kwon-Do. She achieved her first-degree black belt at the age of 15. Subsequently won 2 gold medals at the Canadian Championships in Vancouver and 2 gold medals at the North American Championships. She began to model at the age of 17 and landed before the lens of famed photographers, shooting for Abercrombie & Fitch, Aveda, Italian Vogue, Elle, Cosmopolitan, Roots and more.Moving to Los Angeles in 2001, she carved out a successful career as an actor in 100+ television commercials.Since 2017, she has become a grounded voice within the MeToo advocacy community, helping 1,400+ survivors of sexual harassment, assault, and abuse. A longtime member of SAG-AFTRA, Chantal served on several national safety committees to consult on ways the industry could expand its best practices to move closer towards equal treatment, pay parity, representation, and improving safety standards on sets.She combined her many years of experience as a performer, with her advocacy work, to pivot to her career as a certified film/television Intimacy Coordinator.An Intimacy Coordinator Professionals(IPA)-certified intimacy coordinator, Chantal Cousineau has been a pioneer in the area of developing (teaching) protocols to work with minors of all ages, in a safer way.Chantal is a dual citizen of Canada and the US and she speaks both French and English fluently. https://www.intimacyprofessionalsassociation.com/chantal-cousineau-bio

How Do You Direct A.I.? What considerations are there when prepping an A.I. drama? How do you keep it all ethical? We talk with James Walker, Nancy Lanham, and Forest Robin of Velocity Studios about how they created TWO A.I. podcasts (an interview show where an A.I. host interviews an A.I. guest and a narrative feature length show where actors play the humans and A.I. play the robots). (Episode 47) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our Los Angeles green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠TheWorkingDirector.Pro.⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on the shows we discuss and how to watch them: The Metal Detective (scripted audio drama, top performer on Apple Podcasts Charts) — A.I. performers were auditioned and played the role of A.I. characters opposite human actors in this cyberpunk noir mystery thriller. A.I. audio systems were also used in various post sound design and sound effects. More info: https://www.velocity-studios.com/the-metal-detective   Raise of the Machines: Conversations with A.I. (weekly interview style audio new magazine) — A.I. systems were used to write initial drafts of interview scripts where an A.I. host would then interview an A.I. guest on A.I. issues important to humanity. More info: https://www.machinesrise.com/  

Ask An Entertainment Lawyer: Fair Use, A.I. Rights and more! In this new semi-monthly series we let our audience ask any production related legal questions their hearts desire to Entertainment Lawyer & Filmmaker Chris Edgar. This week, some topics covered: -who owns the rights to A.I. materials used and should you avoid using them in your film? -what exactly is fair use when it comes to filmmaking? -what is e&o insurance and how does it protect you? To follow along with Chris' YouTube channel on all things entertainment law ⁠subscribe here.⁠ (Episode 46) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠TheWorkingDirector.Pro.⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Chris: Composer, songwriter, and lawyer Chris Edgar has written music for film, theater, TV, and digital series. Edgar has scored award-winning films, including The Breakout: A Rock Opera (Best Screenplay - Vancouver Filmdance Festival, Best Musical Film - Cinema Los Angeles, Best Feature Film - Michigan Comic Con Film Festival), Steve’s Quest: The Musical (Best Animated Series - International Academy of Web Television, Best Music Score - Hollyweb Festival), and Ghost in the Gun (Best Music Score - Crown Wood International Film Festival & Los Angeles Cinema Festival of Hollywood). “Possessed,” a pop song he wrote, won the Best Single award at Shockfest Film Festival. His most recent feature project is “Playing WithBeethoven,” in which the actors performed the film’s score live on set, and which recently made its nationwide theatrical debut. 

ICFX For Indie Filmmakers: Using LED Walls & Green Screen for In-Camera FX What do you need to know when prepping and shooting on LED walls? How about using in-camera fx with green screen? Where is the technology heading and how can you get in on using this now to level up your filmmaking? Let's get in to it! (Episode 45) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our ICFX studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at TheWorkingDirector.Pro. You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on our panelists: Kyle Frazer has been active in the film and TV industry since 2004. He has worked on numerous projects from feature films to TV shows, and commercials to projects for the Department of Defense.  Some shows include Stalked Someone is watching and Americas Funniest videos.  He has demoed cameras for Panasonic, collaborated on their prosumer cameras, and early 3D models. Kyle has experience in setting up robotic cameras as well as live streaming events. As a Camera Operator and Director of Photography, Kyle has shot reality TV all over the world, and shoots digital content for Walt Disney World. After coming to Full Sail University, Kyle's skills were put to use establishing the streaming and technical aspects required to launch DCBS TV as well as extensive work with ESPN. During his time as an educator he was the course director for a few different classes including Digital cinematography 1, Portfolio III, Composition and Visual design and Electronic Field Production. Using all these skills he is currently running Studio V1 which is Full Sail University’s virtual production stage. While working in Studio V1 he has worked on many projects using the technology. Including features, TV shows, commercials and student projects. **** Kristofer Cross, a multi-talented performer and entertainment industry professional, originally from Chicago, Illinois. His journey in the world of entertainment began at a young age when he stepped onto the theater stage. Later, Kristofer and his family moved to Los Angeles, California, where he would embark on his career as an actor, dancer, and model. From "The Hunger Games" to "Star Wars: The Force Awakens," "Joker," and sequels to "Avatar," Kristofer has left his mark on some of the most iconic films of our time. Beyond his contributions as a visual effects professional, he also delves into creative roles, writing, directing, producing, and developing his independent projects.  *** Jess Loren is a highly accomplished entertainment professional with a broad range of expertise. As a tech entrepreneur, executive producer, and showrunner, she has founded and led two successful companies to profitable exits before the age of 30. Today, she serves as the Chief Executive Officer and founding partner of To Whom It May Concern, a production services company operating virtual production facilities in Burbank and North Hollywood. In addition to this, Jess is also the Founder and CEO of Global Objects, a pioneering tech startup focused on democratizing access to digital replicas of the real world.   A voting member of the Television Academy and a member of the Visual Effects Society, Jess has over 15 years of experience at the forefront of the digital and visual transformation of businesses. She has successfully managed complex projects as an executive producer and showrunner for leading global brands such as Netflix, Hulu, Apple+, Lifetime, A&E, Crackle, and Chicken Soup For The Soul in the realm of production.  

How can A.I. actually benefit your team when it comes to production and post production? How do you use A.I. to enhance (not replace) what your cast and crew bring to the table? Join this live discussion and Q&A on the current uses of A.I. for indie filmmakers and how to use them legitimately. From capturing actor images to editing, there is a new world at your fingertips.  (Episode 44) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠ To join our private FB group for directors or to learn about The Working Director course that helps emerging filmmakers become working directors faster, visit ⁠⁠⁠⁠⁠⁠TheWorkingDirector.Pro⁠⁠⁠⁠⁠⁠. More on our panelists: Evan PessesCo-Founder | Head of StudioWild Capture Evan Pesses is the Head of Studio and EP at Wild Capture, a digital human technology studio. They are heavily into the space of bring real live captures of actors into VFX pipelines. They leverage AI to streamline their processes and production. They use A.I. ethically in order to not replace real actors but rather to enhance. wildcapture.io Marc CalamiaExecutive ProducerFilms, TV, & Branded Content Marc Calamia is avisionary force driving the evolution of smart content solutions + immersive experiences for brands, agencies, and publishers. Marc fuses his expertise in creative development, production methods, and scalable studio models to make what we the PDA dreams possible. A trailblazer who has co-created and led production studios for industry powerhouses such as NBC Universal, Viacom, advertisers BBDO, 360i and R/GA, Marc's transformative touch has elevated campaigns for Google, Nike, Samsung, Facebook, Fanta, Apple, Magic-Leap, Mercedes-Benz, Verizon, AT&T, Hot Wheels and more. With a rich network of relationships cultivated over two decades and an extensive list of prestigious awards including Cannes Lions and Webbys, Marc is on a relentless pursuit of fresh collaborations with top-tier companies and exceptional talent. to continue crafting purpose-built content solutions + immersive experiences, captivating audiences on every channel. Marc is Founder and Exec Producer @ independent content + experiential agency SAGEWORX.COM ad Head of Production at Creative Studio PDA.NYC. His work can be seen at marccalamia.com. Jason GulliferIndependent Filmmaker Jason Gullifer is a skilled VFX artist, director, and film producer known for his focus on visual effects and virtual production. Inspired by his love of sci-fi and superhero films, Jason and director Jenn Page worked together on several films including “Zombie Kids” and the audience-award winning short film "Cazadora," where he created visual effects that brought the lead actress's super-powered character to life. In addition to his VFX expertise, Jason produces and directs. His commitment to storytelling and his ability to deliver exceptional cinematic experiences have earned him a reputation for excellence. He also owns the company, “I Look Like Myself,” that helps actors create high quality reel material. ilooklikemyself.com

How do you approach investors in a time when anyone rarely makes money? What goes in your business plan? Why should you share the bad news first with your potential investors? Why should you use your own money to make your own film? Why shouldn’t you pre-judge potential investors? Why is getting a mentor essential? We are going to dive into all that with filmmaker Scott DuPont in this episode about the five big shifts you must make to fund your indie films. (Episode 43) Hosted by Director/Producer⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠ To join our private FB group for directors or to learn about The Working Director course that helps emerging filmmakers become working directors faster, visit ⁠⁠⁠⁠⁠TheWorkingDirector.Pro⁠⁠⁠⁠⁠. More on Scott: Scott duPont was born in New Jersey (also lived in New York) is an award-winning actor with 3 Crystal Reel Awards based in Hollywood. duPont honed his craft in the Florida market living near Universal Studios FL & Disney-MGM Studios for 15 years working on 100+ short & independent films and TV pilots. In 2005, duPont was elected State President of the Florida Motion Picture & Television Association and to the Board of Directors for Film Florida. He was later elected President of the Florida Cast & Crew Association, served as Chairman of the Florida Alliance of Media & Entertainment and was a founding member of the United Film & Television Artists. Behind the camera, duPont is a member of the Producers Guild of America, the International Documentary Association. One of Scott's unique advantages to having successful film releases is his marketing skills which led him to pursue a Master's degree in Marketing with his thesis on Film Marketing. His obsession on marketing proved a great resource to exploit his company's films using creative strategies with smaller P & A budgets to get R.O.I. to his investors over the years. In between productions, duPont has written columns for several film industry publications including The Director's Chair, Focus In, and ChART magazine, and currently hosts the Podcast "Finance YOUR Movie!" which helps educate, inspire & empower other filmmakers to get money for their own projects. Making connections & reading scripts via the different film organizations he helmed, Scott optioned and purchased several sought after scripts & valuable properties. In 2007, with the backing of his most loyal investors, he formed Scott duPont, Inc. to acquire & develop additional film properties. duPont is now teaming up with existing investors and an investment group out of New York & Miami to raise a new production slate to produce & market several films (now in development). The 1st film belonging to this new slate is: "Ticket Trouble" expected to start production in 2024. Finance Your Movie with Scott's help by listening to his podcast or hiring his team to get hands on. FinanceYourMovie.com