Indie Film Hustle® - A Filmmaking Podcast

Indie Film Hustle
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Indie Film Hustle® - A Filmmaking Podcast

The Indie Film Hustle Podcast is your #1 source for how to hack the film business and indie film world! The show is here to help as many indie filmmakers as I could. We wanted to bring the best guests, industry leaders, creative legends, and film business friends to you, the IFH Tribe. Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Barry Sonnenfeld (Men in Black), Alex Proyas (The Crow, I, Robot), James V. Hart (writer Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls (writer of Fight Club), Oscar® Winner Russell Carpenter (DP of Avatar, Titanic) Joe Carnahan (Smokin' Aces, The Grey), and David F. Sandberg (Shazam!) to name a few. We hope this podcast can help you along your journey as an artist, filmtrepreneur, filmmaker, screenwriter, and as a human being. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

  1. -3 J

    IFH 795: Balancing Hollywood Productions and Indie Passion Projects with Jamie Buckner

    Some stories unfold not with a bang, but with the echo of a bowling ball rolling down a waxed lane—steady, unpredictable, and brimming with hidden intention. On today’s episode, we welcome a filmmaker whose journey is stitched together with sweat-soaked call sheets, stubborn creative grit, and a romance with storytelling that stretches back to a Sunglass Hut in Cincinnati. Jamie Buckner is a writer, director, and production coordinator who took a simple idea—a romantic comedy set in a bowling alley—and transformed it into a heartfelt indie film with an uncanny twin name.What unfolds in this conversation is not just the tale of a film called Split, but the soul of a storyteller who refused to let his creative voice be muffled by the chaos of working behind the scenes on massive Hollywood productions. Jamie shares how he stitched together moments between 14-hour workdays, late-night office hours, and endless sets to keep rewriting, reworking, and resurrecting the script for Split. “The creative muscle will atrophy if you don’t exercise it,” he says. In that moment, you understand that this is no ordinary guest; this is someone for whom storytelling is oxygen.His story reads like a modern parable for artists. From early days bouncing between dreams of music, architecture, and comic books, Jamie landed on film—not by plan, but by epiphany. He describes it beautifully, realizing that all his interests merged in filmmaking, the perfect cocktail of drawing, sound, emotion, and movement. And thus began the pilgrimage: extra work on Seabiscuit, gigs on War of the Worlds, and a life that kept knocking until the door opened just enough to let the artist through.But the magic, as it often does, lived in the in-between. While others went to happy hour, Jamie stayed late in the office to write. While his peers chased security in crew roles, he wrestled with Kickstarter campaigns, coordinated sizzle reels (or “proof of concept” pieces, as he prefers), and asked himself the questions that every creative must ask: "Will I do this until I’m sixty and just look back, or will I carve out the time now?" He chose the latter—and Split was born. There’s something charming about how he talks of making “a cute little bowling movie,” while casually referencing that its short film starred future television stars. It’s clear he walks both worlds with ease: the guy who’s worked on John Wick 2, and the indie soul who still geeks out about local comic shops. He’s aware of the absurdity too: that his film shares its name with M. Night Shyamalan’s thriller. He laughs about mistaken identities, mistaken downloads, and audience confusion, but stands firm. "We were here first," he says. And in that defiant simplicity lies the heart of a creator.Jamie’s approach to art is like that of a Zen archer—disciplined but loose, always aiming, never rigid. He offers a quiet but potent kind of wisdom, the kind that doesn’t shout but sticks with you. “If you're not doing this because you love it, then you're legitimately a crazy person,” he jokes. And yet, one feels the profound truth in those words. In a world spinning faster each day, where even scripts get locked down like government secrets, Jamie reminds us that what matters is finishing what you start—and doing it with heart.Like a good film, Jamie Buckner's journey doesn't resolve in neat lines. It's ongoing, filled with projects still to be written, scenes yet to be shot, and audiences still to discover the little movie that could. But what stays with you is not the resume or the name confusion. It’s the voice behind the words, the love behind the lens. He’s not just telling a story—he’s reminding you why stories matter. Become a supporter of this podcast: a...

    1 h 12 min

  2. 18 MARS

    IFH 794: The Art of Film Marketing: How to Make Your Movie Impossible to Ignore with Danielle Raiz

    A blank canvas. A single frame. The quiet hum before a film breathes life into a screen. But what happens after the final cut? How does a filmmaker's vision transcend the void and reach the hearts and minds of an audience? Today, we unravel this mystery with Danielle Raiz, a passionate advocate for creatives, whose work at Wix has been dedicated to empowering filmmakers and video creators.In this boundless digital age, content creation has become more than just an art—it is a language, a currency, a revolution. Danielle Raiz reminds us that the modern filmmaker is no longer a mere artist but an entrepreneur, an architect of their own cinematic empire. She shares how filmmakers can harness websites, digital marketing, and audience engagement to elevate their craft beyond the screen. "You have to engage with your viewers even before you start filming," she emphasizes. "You build your own website, create a teaser, and start talking to your fans. You share behind the scenes, updates, and teasers to create a buzz before your film is even out."A film, like a tree in the forest, may not make a sound if no one is there to hear it. Gone are the days when a filmmaker could rely solely on festivals and distributors. The power has shifted. Now, with tools like Wix, a filmmaker can craft their own digital home—a place where their work is presented with intention, where it is not merely another flickering light in the vast, crowded universe of content. The key is in visibility. "Your site is really your business card," Danielle Raiz explains. "When people talk to you, they'll Google your name. If they find a professional, beautiful online presence, it reflects on how they see your work."It is no longer enough to create; one must cultivate. Cultivate an audience, a brand, a presence. Marketing is not a necessary evil; it is an extension of the story itself. The best marketing does not feel like marketing at all—it is storytelling, an invitation, an experience. Danielle Raiz speaks of how major brands have already embraced this, turning advertisements into compelling short films. The lesson for filmmakers? Market your work as you would craft a scene—thoughtfully, purposefully, beautifully.Yet, beyond the artistry of marketing lies a fundamental truth: control. "For a long time, video creators had to play by the rules of streaming platforms," she says. "Now, everyone is chasing after great content creators. You have the power. You control the way your work is displayed, monetized, and shared. And that is an exciting time to be a filmmaker."We live in a time where technology shifts at the speed of thought. Virtual reality, interactive storytelling, live engagement—these are no longer distant dreams but tools at our fingertips. The game is no longer about who gets a seat at the table; it is about those who build their own table. And in this unfolding cinematic future, those who understand both art and strategy will rise. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    33 min

  3. 11 MARS

    IFH 793: Comedy, Confidence, and the Art of Reinvention with Rhonda Shear

    Some moments in life are stitched together like the seams of a well-loved garment, their fabric woven with laughter, reinvention, and a refusal to let the world dictate what is possible. On today's episode, we welcome Rhonda Shear, a woman who embodies this spirit of transformation with a playful wink and an unstoppable drive. Many remember her as the effervescent host of USA Up All Night, where she brought an entire generation into the cult world of late-night B-movies, but her journey extends far beyond the glow of a television screen.Rhonda Shear is an actress, comedian, entrepreneur, and accidental feminist, though “accidental” may not quite capture the intentionality with which she has shaped her life. Her story arcs from the glitz of Hollywood to the entrepreneurial success of her intimate apparel empire, with plenty of misadventures and revelations in between. She grew up in New Orleans, a city that instilled in her a sense of pageantry and performance, leading her from beauty pageants to acting, stand-up comedy, and ultimately, to building the number one selling bra in the world, the Ahh Bra. From the outside, her career may look like a sequence of lucky breaks, but Rhonda speaks to something deeper—the power of embracing reinvention without losing authenticity. Hollywood tried to confine her to a singular image, the bubbly blonde bombshell, but she turned it into her own brand of comedy, injecting intelligence into satire and challenging expectations. “People told me, ‘You can’t be sexy and be funny.’ And I said, ‘Watch me,’” she recalls.Her experiences in the entertainment industry—auditioning against preconceived notions, breaking into stand-up at a time when female comedians were still a rarity, and later navigating the world of business—illustrate the universal lesson that one does not have to be what the world expects. Rhonda's path has been a testament to self-creation, a refusal to be boxed in by labels. In her book Up All Night: From Hollywood Bombshell to Lingerie Mogul, she shares the lessons gleaned from a life spent dancing between entertainment and entrepreneurship, always with an eye on what’s next.One of the most refreshing things about Rhonda is her unwillingness to bow to negativity. When the reality TV industry came knocking, hoping to manufacture conflict in her life, she turned them down. “I don’t do drama,” she says. “I don’t need to create problems where there are none.” This philosophy extends into her approach to life and business—where others see obstacles, she sees opportunities. Whether it’s transitioning from comedy to commerce or proving that reinvention is possible at any stage of life, Shear radiates the certainty that success is about mindset as much as talent.Her journey isn't just about professional transformation; it’s about love, too. In a twist straight out of a romantic comedy, she reunited with her high school sweetheart decades later, and together they built an empire. Their story reminds us that some things are destined to find their way back to us, no matter how much time has passed. Life, as Rhonda Shear so effortlessly demonstrates, is about embracing every chapter with humor and grace. The journey from late-night TV to the boardroom isn’t as unlikely as it seems—it’s simply the next scene in a story written by someone unwilling to accept limitations. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    58 min

  4. 4 MARS

    IFH 792: The Power of the Cut: Storytelling Secrets from Michael Trent

    A film editor’s job is much like the work of a sculptor. You take a massive block of material—raw footage—and with a series of delicate, precise cuts, you shape it into something cohesive, something meaningful. In today’s episode, we welcome Michael Trent, a master of cinematic storytelling who has spent his career assembling some of Hollywood’s most unforgettable films. From the war-torn beaches of Saving Private Ryan to the eerie corridors of The Hatred, his work is the unseen hand that guides an audience’s emotions, turning chaos into art.For Michael Trent, the journey into the editing room began long before he ever set foot in Hollywood. His father, a sound editor in England, introduced him to the craft at an early age. “I was using a Moviola by the time I was ten,” he recalls, describing the tactile magic of celluloid film. But talent alone wasn’t enough to break into the industry—his leap from England to Hollywood in 1994 was an act of faith, a cold call to the right person at the right time, proving that the universe often conspires in favor of those who dare. Editing is not merely about cutting and pasting scenes together. It is about rhythm, about knowing when to hold a shot and when to move on. It is the balance between subtlety and impact, between quiet tension and explosive release. “I think a lot of editors cut too much,” Michael Trent shares. “You have to feel the emotion of a scene and let it breathe.” His work on The Hatred is a testament to this philosophy, particularly in its ability to sustain suspense, making audiences feel the presence of something sinister lurking just beyond the frame.One of the most fascinating aspects of his career was working alongside Steven Spielberg. Editing Saving Private Ryan meant moving between locations, from an Irish field to an aerospace museum in England, adapting to whatever environment was necessary. But beyond the logistics, Spielberg’s ability to visualize an edit in his head was what amazed Michael Trent the most. “He called in from Japan with an edit suggestion, and when we made the change, it worked perfectly. It was as if he had a video camera inside his mind.”Horror editing, in particular, demands a unique approach. Timing becomes everything—not just in the obvious jump scares, but in the slow-building unease that keeps an audience gripping their seats. A shadow lingering a second too long, a door creaking open just slightly out of sync—these are the choices that make a horror film work. “There’s a scene in The Hatred where Alice walks toward the cellar,” Michael Trent explains. “We held the shot longer than usual, just to build that sense of dread.”To be an editor is to be both an artist and a storyteller, sculpting not with clay or paint, but with time itself. The true test of an editor’s skill lies not in what they add, but in what they take away. Sometimes, entire scenes—ones that took days to shoot—must be discarded for the sake of pacing and narrative flow. “You have to be ruthless,” Michael Trent says. “If it doesn’t serve the story, it has to go.” Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    43 min

  5. 25 FÉVR.

    IFH 791: Beyond the Script: Gordy Hoffman’s Guide to Emotional Storytelling

    Life, they say, is a story we tell ourselves—a script of experience, moments, and emotions woven into a narrative only we can claim as our own. On today’s episode, we welcome Gordy Hoffman, a screenwriter, director, and the mind behind the BlueCat Screenwriting Competition. His journey through the labyrinth of storytelling has been marked by profound lessons in creativity, resilience, and the delicate art of telling tales that move the human heart.As he shares his insights, one thing becomes evident: the best stories are not formulas but living, breathing entities. Too often, writers are shackled by the idea that a script must be a well-oiled machine of plot points and three-act structures. But according to Gordy Hoffman, true storytelling is about emotional investment. “The only rule of storytelling is getting an audience to care,” he explains. Without that, no amount of structure or technique can save a lifeless script. Whether it’s an Oscar-winning screenplay or a child recounting their day at school, the heart of a story lies in its ability to make someone feel something real.The conversation drifts into the art of critique—how some script consultants and teachers wield feedback like a sledgehammer rather than a guiding hand. Gordy Hoffman believes in nurturing creativity with kindness, rather than crushing it under the weight of harsh criticism. He’s seen firsthand how a poorly delivered note can stifle a writer, and he champions an approach where constructive guidance fosters growth rather than fear. After all, a writer’s vulnerability is embedded in their work, and the moment they detach from that, their stories lose their humanity.But what about the battle every writer faces—the looming doubt that creeps in halfway through a script, whispering that it’s all meaningless, that every page is a failure? Gordy Hoffman reassures us that this despair is not a dead end but a marker of progress. “Every screenplay you work on, you’re going to hit that wall where you think, ‘This is awful, I’m bored, and I want to start over.’ That’s when you know you’re halfway there.” The magic, he insists, lies in persistence—pushing through the malaise, trusting the process, and understanding that the creative spirit is not meant to be shackled by self-doubt.The conversation inevitably turns to Hollywood, that glittering beast that both nurtures and devours dreams. The industry’s appetite for franchise films and established intellectual property has made it harder than ever for original screenplays to find their place. But for those who believe in their stories, avenues still exist—film festivals like Sundance, independent productions, and even the evolving landscape of television. The key is not just writing a screenplay but crafting one so undeniable that it demands to be seen.And what of inspiration? For Gordy Hoffman, it can come from anywhere—a fleeting moment, a stray observation, or even an index card scribbled with a single thought. Love Liza, one of his most well-known works, was born from a brief encounter at a gas station. “I saw someone near a pump, and I thought, ‘Are they sniffing gasoline?’ That small moment turned into a story about grief and addiction.” Such is the power of storytelling—it transforms the mundane into the extraordinary, giving meaning to even the smallest of moments.The beauty of storytelling is that it is never truly finished. It grows, shifts, and takes on a life of its own, sometimes in ways we never intended. As Gordy Hoffman reminds us, the path of the writer is one of perseverance, of believing in the story even when the world seems indifferent. In the end, storytelling is less about perfecting structure and more about opening the heart—to others, to ourselves, and to the infinite possibility of what can be created. Become a supporter of this podcast: a...

    1 h 6 min

  6. 18 FÉVR.

    IFH 790: From Short to Feature: The Filmmaker’s Journey with Michael G. Kehoe

    On today’s episode, we welcome Michael G. Kehoe, a filmmaker who turned a whisper of an idea into the resounding voice of a feature film. From Brooklyn to Hollywood, from an eight-year-old boy watching his mother direct community theater to a director commanding his own set, Michael’s journey is one of persistence, heartbreak, and sheer creative will.In this profound conversation, Michael G. Kehoe shares the winding road of his career, one marked by passion and loss. A pact among friends, the bright lights of New York, and the uncertainty of Los Angeles formed the backdrop to his early years. But it was a personal tragedy—the untimely passing of two close friends—that set the stage for his first short film, Second Dance. With no roadmap but a fierce determination, he crafted a story that not only resonated but landed him in the heart of Sundance, proving that even the smallest project can open the biggest doors.The journey didn’t stop there. Years later, inspired by his twin boys’ innocent bedtime fears, he penned a horror story that would eventually become The Hatred. Rather than waiting for a green light from the industry, he carved his own path. He created Hush, a short film that distilled the very essence of fear—the anticipation of the unknown. The reaction was immediate. Audiences jumped, festivals awarded, and industry heavyweights, including the producers behind Halloween, took notice. The lesson? The industry rewards those who show, not just tell.But success in Hollywood is rarely a straight road. Shooting The Hatred on a tight budget and an even tighter schedule meant adapting, improvising, and making every shot count. “Poverty breeds creativity,” Michael says, a testament to the resilience needed in independent filmmaking. Working with a largely female cast, he crafted a horror film that stood apart from the blood-soaked clichés, focusing instead on atmosphere, character, and tension. The result? A film that paid homage to the horror classics of the past while carving its own identity in the present. Of course, filmmaking is a collaborative art. Michael speaks of the relationships that make the journey worthwhile—the actors who return to work with him time and again, the cinematographers who bring his visions to life, and the producers who take a chance on passion over pedigree. “Surround yourself with people smarter than you,” he advises. A lesson as true for life as it is for film. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    1 h 16 min

  7. 11 FÉVR.

    IFH 789: The Indie Filmmaker’s Journey: Curt Wiser on Creativity, Persistence, and Making Cam Girl

    On today's episode, we welcome Curt Wiser, a writer and director whose journey proves that the path to making movies doesn’t require a New York or Los Angeles zip code. From the sunny shores of Florida, Curt has forged his own cinematic destiny, creating the suspenseful and thought-provoking film Cam Girl—a story of isolation, control, and survival. But as with any journey worth taking, his was not without its trials.Filmmaking is often romanticized as an artistic dreamland, yet reality demands perseverance. Curt Wiser spent years writing scripts, refining his vision, and navigating the labyrinth of independent film production. He understood a fundamental truth—great stories come from deep within the storyteller. The seed of Cam Girl was planted not in a boardroom or a Hollywood studio, but in the quiet hours of personal discipline, writing at night after long workdays, shaping ideas into something tangible. He described his creative process as a structured yet fluid endeavor, saying, “I outline thoroughly, but when I start writing, it just pours out. I wrote the first draft of Cam Girl in 14 days.” Passion fuels discipline, and discipline, in turn, fuels success.His film, Cam Girl, takes a simple yet gripping premise—a woman working as a webcam performer who finds herself taken hostage—and transforms it into an intense, psychological unraveling. With one primary location and a tight cast, it is proof that compelling storytelling doesn’t require a blockbuster budget. The industry often pressures filmmakers to define themselves within a niche, to follow trends rather than intuition. But Curt remains steadfast in his desire to explore diverse narratives, aware that Hollywood loves to box artists in, but true creators resist those constraints. Challenges are inevitable in both life and filmmaking, and Curt has encountered his fair share. Whether it was dealing with malfunctioning equipment, shifting schedules, or the ever-present financial constraints of independent cinema, he never allowed these obstacles to derail his vision. He understands that setbacks are not roadblocks, but rather, unexpected plot twists in the grand narrative of creation. “Filmmaking is like solving a puzzle while the pieces keep changing,” he mused. The lesson? You don’t control the waves, but you learn how to ride them.Independent filmmaking is a test of patience, resilience, and the ability to pivot when necessary. Distribution, marketing, and audience reception all present their own set of challenges, but Curt embraces the uncertainty, knowing that each project is a stepping stone to the next. Cam Girl has found its way to audiences through Amazon and other platforms, an accomplishment that many filmmakers never reach. His approach to networking, to putting work out into the world, proves a vital point: persistence, not perfection, is what leads to opportunity.Filmmakers, writers, and creatives alike can take inspiration from Curt’s journey. The industry is a maze, but the way through it is to keep moving. Too many aspiring artists get caught in the paralysis of waiting for the perfect moment, the perfect budget, the perfect conditions. But perfection is an illusion. Start where you are. Use what you have. Tell your story anyway. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    1 h 35 min

  8. 4 FÉVR.

    IFH 788: The Unscripted Journey of Steven Bernstein: From Cinematographer to Storyteller

    What if the greatest stories of our lives are the ones we never meant to write? On today’s episode, we welcome Steven Bernstein, a man whose journey through the world of cinema has been anything but predictable. A writer at heart, a cinematographer by accident, and a director by destiny, his career is a living testament to the art of surrendering to the unknown. From his early days at the BBC to the sets of Hollywood blockbusters, his story unfolds like an unplanned masterpiece—one that ultimately brought him full circle, back to the thing he always loved: writing.In this profound conversation, Steven Bernstein recounts his journey from philosophy student to award-winning cinematographer, where his love of storytelling found an unexpected home behind the lens. He speaks of the curious ways life moves us, sometimes against our best-laid plans. “You tend to go with those things that are providing you income,” he muses, reflecting on how a passion for writing gave way to cinematography, leading him to films like Monster, Like Water for Chocolate, and Scary Movie 2. Yet, even as he shaped light and shadow for some of cinema’s most striking images, the writer within him never faded.There is an undeniable poetry in the way Bernstein describes his work. He doesn’t just shoot a film; he composes it, layering meaning through framing, movement, and light. Every choice—a dolly push, a backlight, an asymmetrical composition—whispers something to the audience. It’s a language beyond words, one that he speaks fluently. “Everything to do with film is a language,” he explains. “And like any language, it’s made up of two parts: that which we present and that which we mean.”His journey back to writing was not an easy one. After years of crafting imagery for others, he took a leap into directing his own films, starting with Decoding Annie Parker. It was a lesson in risk and resilience. At one point, he spent five years in poverty, refusing to return to the safety of cinematography. “If you hold out for the dream, maybe you achieve it,” he says. It is a stark reminder that the artist’s path is often one of sacrifice, but those who persist find themselves richer in ways beyond money.Yet, Bernstein also understands the tension between art and commerce. Filmmaking is an expensive endeavor, and investors want guarantees. He describes the struggle of balancing creative vision with financial expectations, a dance between inspiration and limitation. And yet, some of the greatest filmmakers—Terry Malick, the Coen Brothers, Charlie Kaufman—have defied convention, proving that the most resonant stories often break the rules.The conversation moves to the nature of collaboration, the unspoken alchemy that happens on a film set when everyone is in sync. He recalls moments from Monster, where the crew, sensing the gravity of a scene, chose to remain completely silent, whispering only when necessary. It was an unspoken agreement, an offering to the art being created. “It was one of the most magical moments I remember in any film I’ve ever worked on,” he recalls. It is a glimpse into the rare, sacred spaces where true storytelling happens—not in the scripts, but in the spaces between them. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

    59 min
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    À propos

    The Indie Film Hustle Podcast is your #1 source for how to hack the film business and indie film world! The show is here to help as many indie filmmakers as I could. We wanted to bring the best guests, industry leaders, creative legends, and film business friends to you, the IFH Tribe. Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Barry Sonnenfeld (Men in Black), Alex Proyas (The Crow, I, Robot), James V. Hart (writer Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls (writer of Fight Club), Oscar® Winner Russell Carpenter (DP of Avatar, Titanic) Joe Carnahan (Smokin' Aces, The Grey), and David F. Sandberg (Shazam!) to name a few. We hope this podcast can help you along your journey as an artist, filmtrepreneur, filmmaker, screenwriter, and as a human being. Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

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