A weekly podcast highlighting the creators of independent film and the business behind it. Hosted by Ben Duchek.

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/9/17/19/7160966a-ad95-4db5-aab8-b0b1ca9e7a60_mf_podcast_episode_mixdown.mp3

My guest today, director Mylissa Fitzsimmons, previously released two features -- EVERYTHING IN THE END (2021) and THE LONG RUN (2025) -- and never got a premiere. She suffered from burnout of the excruciating process of making these brilliant films. And yet:here she is in 2026 with <a href="https://letterboxd.com/film/mackenzie-1/" rel="nofollow">MACKENZIE (2026)</a>, opening at Film Fest Oldenburg this year. What does that say about perseverance? Resilience? A never quit attitude and the ability to keep going on even though this is really, really, fucking really hard?I think it says everything. I&#39;m so motivated hearing her story and so excited for the journey of her new film and her renewed love of the art form.Hat tip to the best friend any indie filmmaker can have, <a href="http://google.com/search?ei=ZTasaquuOsyw5NoPhbn3iAs&gs_lp=Egdnd3Mtd2l6IhdpbnN0YWdyYW0gc2NvdHQgbW9uYWhhbjIFECEYoAEyBRAhGKABMgUQIRigATIFECEYnwUyBRAhGJ8FMgUQIRifBTIFECEYnwUyBRAhGJ8FMgUQIRifBTIFECEYnwVI9BZQAFjWEnAAeACQAQCYAV-gAZwLqgECMjO4AQPIAQD4AQGYAhegAtELwgIOEAAYgAQYigUYsQMYgwHCAgsQABiABBixAxiDAcICDhAuGIAEGLEDGMcBGNEDwgILEC4YgAQYsQMYgwHCAggQLhiABBixA8ICERAAGIAEGIoFGI0GGLEDGIMBwgIIEAAYgAQYtAfCAgsQLhiABBjHARjRA8ICFxAuGIAEGIoFGI0GGLEDGIMBGMcBGNEDwgIIEAAYgAQYsQPCAg4QLhiABBi0BxjHARjRA8ICERAuGIAEGIoFGLEDGMcBGNEDwgIFEAAYgATCAgYQABgWGB7CAggQABgWGB4YCsICCBAAGIAEGKIEwgIFEAAY7wWYAwCSBwIyM6AHgIoBsgcCMjO4B9ELwgcENC4xOcgHIYAIAQ&iflsig=ABILxe8AAAAAaqxEdfhSiWzYQx8zHzJJgWp8JYzUhKfB&oq=instagram+scott+monahan&q=instagram+scott+monahan&sca_esv=8f55d1c39308862b&sclient=gws-wiz&source=hp&sxsrf=APpeQntLy-zu3pHiu3pgp3PNER6DK-4Svg%3A1789671013999&uact=5&ved=0ahUKEwjr9LSIpPaWAxVMGFkFHYXcHbEQ4dUDCC0" rel="nofollow">Scott Monahan</a>, for making this interview happen.In this episode, Mylissa and I talk about:<ul><li>why Oldenburg?</li><li>how she&#39;s NEVER gotten an opportunity to have a full premiere for her films;</li><li>what people should expect to see when watching MACKENZIE;</li><li>why she waited till her third feature to tell her most personal story;</li><li>the burnout she felt after her first two features;</li><li>the incredible story in her film EVERYTHING IN THE END;</li><li>directing actors to not really be actors in THE LONG RUN;</li><li>where did the motif of running away comes from;</li><li>the process of working with a non-professional actor as the star of MACKENZIE;</li><li>why she has ambiguous endings in her films;</li><li>what&#39;s next for her.</li></ul> Mylissa&#39;s Indie Film/Filmmaker Highlight: <a href="https://www.instagram.com/frankrjmosley/?hl=en" rel="nofollow">Frank Mosley</a> in JACKRABBIT (2026); <a href="https://www.instagram.com/leeleepitts/?hl=en" rel="nofollow">Leonora Pitts</a> in <a href="https://boxd.it/QpU2" rel="nofollow">I HATE MYSELF AND WANT TO DIE (2024) dir. by J. Davis</a>Memorable Quotes:&#34; So the baby is ready to walk, and we&#39;re gonna be there all as proud parents watching.&#34;&#34; This kind of moment in childhood that we all have where we realize like the reality of the real world is seeping through the cracks of your childhood innocence and you are growing up.&#34;I don&#39;t want to have to worry about saying, &#34;hey, I really want you to work on this, but it&#39;s a microbudget and I can&#39;t really pay you a lot,&#34; and then feel guilty and then have them not really be 100% committed.&#34;&#34; When MACKENZIE came along, my only goal was like, &#34;hey, I just wanna make a movie and have fun again.&#34;&#34;I actually set out to make a movie about people who are lost.&#34;&#34; I had worked with kids before, and I know it&#39;s like you don&#39;t really direct them, they direct you.&#34;Links:<a href="https://www.instagram.com/mylissafitz/?hl=en" rel="nofollow">Follow Mylissa On Instagram</a>

Mylissa Fitzsimmons On Running Away And The Making of MACKENZIE (2026)

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Expectations are good in a lot of ways. They hold us to a standard and promote accountability. But they can also be creatively limiting. For actor and executive producer Glen Steele of the film INFINITELY DENSE, who you heard in the intro, he took the shackles off the word expectation and made his art, giving the middle finger to age or any other perceived limitation.<a href="https://tiff.net/films/infinitely-dense" rel="nofollow">INFINITELY DENSE </a>is having its market screening at the Toronto International Film Festival on September 16th, 2026. If you have the ability to go, you should. It&#39;s a near-realistic sci-fi look at what happens if a guy unhappy with his life experimented with augmented AI.I&#39;m also joined by writer and director Ace Thor, who met Glen through his mom&#39;s acting class. This is an insane story of two people pushing the boundaries of independent film, both through the subject matter of their work and their overall art.And -- Ace Thor &amp; Glen Steele should be in a cop buddy comedy, right? I&#39;d love it, because it would be another opportunity to have them on the podcast.In this episode, Ace, Glen, and I talk about:<ul><li>how they describe the film;</li><li>the many hats that independent filmmakers have to wear;</li><li>the crazy story of how they ended up working together and how they got involved in filmmaking;</li><li>the reality of acting in your 60s;</li><li>making a scifi film that feels realistic and not having genre as the focus;</li><li>casting for this film, why Ace watched every single tape, and why Glen kept his hands off the process;</li><li>Glen&#39;s feelings on massive influencers taking over acting -- it&#39;s been happening for years in different forms;</li><li>the process of a market screening at TIFF;</li><li>should more actors get involved in making their own roles;</li><li>advice for raising a family while acting and directing;</li><li>what&#39;s next for them.</li></ul> Ace&#39;s Indie Filmmaker Highlight: <a href="https://en.wikipedia.org/wiki/Nicolas_Roeg" rel="nofollow">Nicolas Roeg</a>Memorable Quotes:&#34; It&#39;s more of a story of what happens when we are only in relationship with ourselves.&#34;&#34;It&#39;s just like no matter what you try and do in my family, if you wanna do something else, it&#39;s just not possible.&#34;&#34; No one&#39;s gonna hire me to be a lead in a movie at this point in my life.&#34;&#34; I didn&#39;t want the sci-fi to be the focus, right?&#34;&#34; It&#39;s hard for the 64-year-old Glenn to tell a 25-year-old what to do because I wouldn&#39;t have listened to me when I was 25.Links:<a href="https://tiff.net/films/infinitely-dense" rel="nofollow">INFINITELY DENSE @ TIFF</a><a href="https://www.infinitelydense.com/" rel="nofollow">INFINITELY DENSE Website</a>

Thrilling sci-fi films, parenthood, and acting in your 60s: The Amazing Story of Ace Thor & Glen Steele

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/9/5/21/ef378784-3422-42d5-9567-5f285cb8fb07_rye_lane_podcast.mp3

<a href="https://youtu.be/oxwgro6SCzU" rel="nofollow">Watch This Episode On YouTube</a>Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: RYE LANE (2023)Director: Raine Allen MillerSYNOPSISTwo twenty-somethings reeling from bad breakups spend an eventful day wandering South London, helping each other face their nightmare exes and rediscovering the possibility of romance.<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: RYE LANE (2023)

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<a href="https://youtu.be/Sq-_GWNczUw" rel="nofollow">Watch This Episode On YouTube</a>When you normally see a series like HOW TO CHANGE THE WORLD, put together by my guest, filmmaker Dylan Mulick (and the team at World Within Studios), the tendency is to brush it off as do-gooders doing good things. Where is the conflict in that? A lot of great documentaries aren&#39;t seen because of these assumptions.Dylan turns the usual tropes of the series upside down in so many ways by going there: inner city Chicago; the Bahamas; wherever there is actual conflict for people who are looking to change our planet.The result is something altogether fresh: a ten part series, starting September 10th, 2026 that&#39;s shot cinematically and doesn&#39;t make you feel like you&#39;re watching an infomercial or about to see a Gofundme link roll across the screen. It&#39;s premiering on YouTube, it has the clout of Mark Cuban and others behind it, and the team&#39;s end goal is to launch a studio through their nonprofit.This is what the future looks like.Hat tip to David Goldblum for making this interview happen. If you haven&#39;t heard my conversation with him, <a href="https://podcasts.apple.com/us/podcast/david-goldblum/id1689969531?i=1000733740656" rel="nofollow">it&#39;s a must-listen.</a>In this episode, Dylan and I talk about:<ul><li>the layout of HOW TO CHANGE THE WORLD;</li><li>the strategy of betting big on putting this series on YouTube;</li><li>how he able to recruit high-level EPs like Chris Pratt and Mark Cuban for his projects;</li><li>ENTOURAGE shout-out (it truly was a whole thing for dudes in the 2000s);</li><li>the mentorship role he now takes on for people starting out in film;</li><li>the lessons he took from his first feature documentary -- <a href="https://boxd.it/F7oA" rel="nofollow">HELEN BELIEVE (2023)</a> -- into this project;</li><li>the story behind World Within Studios, which bills itself as &#34; a nonprofit focused on tackling extreme wealth consolidation by investing in community-owned projects&#34;;</li><li>what keeps him up at night regarding this huge risk;</li><li>whether EPs matter anymore and why Mark Cuban is the perfect fit for this project;</li><li>how cool it is when people post about their challenges in making films;</li><li>what success looks like for this series.</li></ul> Memorable Quotes:&#34; How to Change the World is a 10-episode documentary series that is essentially like Chef&#39;s Table for social entrepreneurs.&#34;&#34; They&#39;re not the people that you often see in the headlines. And we believe what they&#39;re doing should be rewriting the definition of what a founder and a CEO should be. So we wanted to show them cinematically. We wanted to shoot them heroically.&#34;&#34; Mentorship is so critical, and I think it&#39;s lost in today&#39;s Hollywood because the jobs are so competitive and the jobs are so few.&#34; These are all ideas that are probably pretty close to us, whether consciously or just like the mysterious stresses in our lives. But if you don&#39;t show a solution and then you don&#39;t take that solution and clearly communicate it to an audience, you can&#39;t build a movement, and ultimately World Within wants to build a movement from these ideas.&#34;&#34; I don&#39;t know that [EPs] move the needle, unless of course they&#39;re the sole person on camera, right?&#34;&#34; The buyers are too reluctant nowadays, and I think quite honestly, like every famous person is pitching their own show.&#34;&#34; And I&#39;m trying to walk the walk of this idea of always trying to be failing, Links:<a href="https://www.youtube.com/@worldwithinstudios" rel="nofollow">Follow World Within Studios For The Series</a><a href="https://www.instagram.com/dylanmulick/?hl=en" rel="nofollow">Follow Dylan On Instagram</a>

Betting Big On Yourself Through Helping Others: Dylan Mulick and HOW TO CHANGE THE WORLD

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One of the most fascinating things I&#39;ve learned about in conducting interviews are how top awards can end up meaning -- nothing.Think back -- can you name who won the Oscar for best documentary short five years ago? Two years ago?So often, it doesn&#39;t show a noticeable trajectory change in the filmmakers&#39; careers. That&#39;s not true of my guest today, Orlando von Einsiedel, whose film, <a href="https://boxd.it/XfQy" rel="nofollow">THE CYCLE OF LOVE (2025)</a> opened in New York on August 28th and later in September for the rest of the country, has continually built on his success through taking on larger projects.In the last 16 years, he&#39;s directed or produced at least 31 shows and series, an incredible workflow that speaks both to his work ethic and the value of awards (maybe?).It&#39;s hard to tell whether the latter part mattered. What we can say is his filmmaking is sincerely moving, and I&#39;m so glad to see him tackle evermore ambitious topics like THE CYCLE OF LOVE.In this episode, Orlando and I talk about:<ul><li>he&#39;s won Oscars and opened at top festivals; is there&#39;s an achievement out there that he&#39;s aiming for in filmmaking?;</li><li>his description of THE CYCLE OF LOVE;</li><li>the decision to incorporate mostly reenactments into the film and where he drew the line between &#34;how it feels&#34; and what actually happened;</li><li>how EVELYN (2018) helped make THE CYCLE OF LOVE happen the way it did;</li><li>how he went from snowboarding into filmmaking</li><li>the ways in which awards enabled his climb and how documentary filmmakers should view them;</li><li>the role of EPs for documentary filmmakers;</li><li>the value proposition of his production company, Grain Media, and how he&#39;ll use crowdfunding if it&#39;s the path for a particular film;</li><li>the theatrical prospects for this film and the landscape for documentary filmmakers;</li><li>what&#39;s next for him.</li></ul> Memorable Quotes:&#34; Every story, every film we make, I just want people, audiences to connect with it.&#34;&#34; The challenge was there was very little archive footage from PK&#39;s journey, and and normally that is what kills a documentary in its tracks.&#34;&#34; I don&#39;t think anyone should start a film project thinking about awards.&#34;&#34; It doesn&#39;t matter how experienced you are, it doesn&#39;t matter how many awards you&#39;ve won, every project needs a different path.&#34;Links:<a href="https://www.instagram.com/orlandovoneinsiedel/?hl=en" rel="nofollow">Follow Orlando On Instagram</a><a href="https://www.grainmedia.co.uk/" rel="nofollow">Grain Media&#39;s Website</a>

War Zones And Walks To Legendary Romances: Orlando von Einsiedel, director of THE CYCLE OF LOVE (2025)

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Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: EVELYN (2018).Director: Orlando von EinsiedelSYNOPSISWhen a 22-year-old kills himself, his three siblings try to bury their pain. Ten years later, they go on a hiking trip and seek out the places he liked to walk in the English countryside, allowing them to contemplate their brother&#39;s life.<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: EVELYN (2018)

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<a href="https://youtu.be/_GynPwbhznM" rel="nofollow">Watch This Episode On YouTube</a>If you are staying up till 1030 pm to talk with me from Milan, Italy, well, I&#39;m going to be grateful no matter what.But even better if your film is truly exceptional. My guest, Ang Geck Geck Priscilla, director of <a href="https://boxd.it/s4CS" rel="nofollow">AH GIRL (2026),</a> which premiered at Rotterdam and now screens at the Toronto International Film Festival next month, made a fantastic coming of age story from a child&#39;s perspective, cinematically. She wrote a semi-autobiographical story -- 70-80% true -- that her parents haven&#39;t even seen. And she&#39;s a Singaporean filmmaker making waves at huge festivals in ways that, if we&#39;re being blunt, we don&#39;t usually see.But she didn&#39;t want to play the comparison game; she doesn&#39;t care about all that. She wants to tell her own story. I&#39;m absolutely here for it, and if you&#39;re at TIFF, you should be there, too. What a great talent in director Ang Geck Geck Priscilla.Ang and I talk about:<ul><li>how she describes the film and how much is true to life (70-80%);</li><li>a coming of age story that she hasn&#39;t even shown her parents!;</li><li>why she cast good looking people as her parents;</li><li>shooting the film from a child&#39;s perspective;</li><li>how she knew she&#39;d become a filmmaker;</li><li>why she cut the film to 99 minutes, including a wedding scene that I really want to see!;</li><li>the genre of films that are tackling this coming of age, especially from an Asian perspective (e.g. LEFT-HANDED GIRL; A GIRL UNKNOWN);</li><li>her thoughts on distribution;</li><li>filmmaking in Singapore and the lack of theatrical opportunities;</li><li>expectations coming out of screening at TIFF;</li><li>what&#39;s next for her.</li></ul> Ang&#39;s Indie Film Highlights: <a href="https://boxd.it/xoCI" rel="nofollow">WE ARE ALL STRANGERS (2026) dir. by Anthony Chen </a>(a fellow Singaporean and also playing at TIFF); <a href="https://boxd.it/s8Va" rel="nofollow">THE VIOLINIST (2026) dir. by Ervin Han &amp; Raul Garcia</a>Memorable Quotes:&#34; The small part that is not real is actually the message that I want to tell my parents.&#34;&#34; My producer would tell me about this film, and then they will start comparing. I honestly, I don&#39;t really care.&#34;&#34; I&#39;m really happy to be able to tell a Singapore story because I think as Singaporean, a lot of people always say we don&#39;t have our own identity.&#34;&#34; I&#39;m writing a psychological horror film next. I love horror.&#34;Links:<a href="https://www.instagram.com/anggeckgeck/?hl=en" rel="nofollow">Follow Ang Geck Geck Priscilla On Instagram</a><a href="https://www.instagram.com/ahgirlfilm/?hl=en" rel="nofollow">Follow AH GIRL On Instagram</a>

Shooting A Coming Of Age Story From A Child's Perspective: Ang Geck Geck Priscilla, dir. of AH GIRL (2026)

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It always fascinates me when people with other artistic backgrounds settle on making films. They end up creating an art form that is noticeably different than their peers. My guest, Australian director Peter Skinner, spent five years as a sculptor, and then with the precision that art form requires, turned his focus into making astonishing films like his most recent, <a href="https://boxd.it/Otni" rel="nofollow">TWO UGLY PEOPLE (2025)</a>.It&#39;s a hard film to describe but a beautiful one to watch. The impetus for the story of TWO UGLY PEOPLE came in the form of a question: &#34; how do I tell a story about two people who want be together, but the only way they can be together is by being strangers?&#34; and Peter actualized that here, in a work worthy of a sculptor.In this episode, Peter and I talk about:<ul><li>the Letterboxd comment of &#34; Peter Skinner is one of Australia&#39;s most exciting emerging filmmaking talents&#34;;</li><li>how he got involved in filmmaking and the path of his classmates;</li><li>sculpture&#39;s role in telling stories, directing, and cinematography;</li><li>what he learned from making four shorts before his feature;</li><li>how he describes TWO UGLY PEOPLE;</li><li>the title!;</li><li>the role of feedback for a film that is pushing boundaries of what people normally see on screen;</li><li>the cinematography and production design of the film;</li><li>how they found a space six hours away from Sydney;</li><li>the festival and release strategy for the film -- and the crazy &#34;pre-selection&#34; process for Venice (is this common?!);</li><li>the distribution process for the film;</li><li>what&#39;s next for him.</li></ul> Peter&#39;s Indie Film Highlight: <a href="https://boxd.it/iWDU" rel="nofollow">BABYTEETH (2019) dir. by Shannon Murphy</a>Memorable Quotes:&#34;I made figurative sculptures and that were based on myths and obviously very, narrative-based. But a sculpture is a, a physical object that sits in a space that if it&#39;s a static object, doesn&#39;t do anything other than sit there. So you have to tell a story as economically as possible, but also as much as you can in the static frame. So then when you look at filmmaking, filmmaking is just that 24 times a second over an hour and a half of a film.&#34; &#34; Imagine you&#39;re a painter and you have to buy all the materials and you have to paint all the thing, and you&#39;ve never painted a big painting before, but it&#39;s gonna cost you a million dollars, and then people have to really like it. It&#39;s almost a fool&#39;s errand.&#34;&#34;I wanted to make a film I&#39;ve never seen before.&#34;&#34; It&#39;s like these places that hold every room is its own story, and I&#39;m just telling you the story of these two people in these two rooms.&#34;Links:<a href="https://www.instagram.com/seymourpictures/" rel="nofollow">Follow Seymour Pictures On Instagram</a>

TWO UGLY PEOPLE (2025), One Exceptional Director: Peter Skinner

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<a href="https://youtu.be/YHeHooVN4JI" rel="nofollow">Watch This Episode On YouTube</a>Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: MOON (2009)Director: Duncan JonesCast: Sam Rockwell; Kevin Spacey; Dominique McElligott; Kaya ScodelarioSYNOPSISAstronaut Sam Bell&#39;s (Sam Rockwell) three-year shift at a lunar mine is finally coming to an end, and he&#39;s looking forward to his reunion with his wife (Dominique McElligott) and young daughter. Suddenly, Sam&#39;s health takes a drastic turn for the worse. He suffers painful headaches and hallucinations, and almost has a fatal accident. He meets what appears to be a younger version of himself, possibly a clone. With time running out, Sam must solve the mystery before the company crew arrives.<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: MOON (2009)

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At the risk of sounding corny (and real in a world of AI slop podcast descriptions), let me add a fourth F: Ford. As in Tom Ford. No, not that one -- the cinematographer Tom Ford, who made my favorite film of the year absolutely shine through his work years ago.What do I mean by that? As we talk about, much of what I love about URCHINS is its lighting, and that came from enduring relationships that Tom built over the years that he brought on for this film. There&#39;s a huge lesson in that and Tom&#39;s career; you can have all the talent in the world, but if you aren&#39;t a team player, the big brands and great films won&#39;t call you.That&#39;s not this Tom Ford&#39;s problem. Just the opposite. Film Independent Spirit Awards, are you listening? URCHINS should win awards for its visually stunning canvas, and I&#39;m so glad to be joined by the person who made it happen.Tom and I talk about:<ul><li>how he got to be such a great shooter for top brands and films like URCHINS;</li><li>learning vs. innate understanding of cinematography;</li><li>why he&#39;s been so successful working with brands like Nike and top fashion;</li><li>how freeing it was to have a director that kept him separated from clients&#39; demands;</li><li>advice for people wanting to work with top brands;</li><li>whether he wants to direct and how to properly manage that relationship;</li><li>the general state of cinematography in independent film and how it relates to URCHINS;</li><li>how a guy from the United Kingdom shoot a love letter to Florida;</li><li>the importance of the team Tom Ford has assembled throughout the years;</li><li>his favorite shot in the film;</li><li>avoiding cliches in URCHINS;</li><li>his advice for aspiring filmmakers;</li><li>what&#39;s next for him;</li><li>working on short films;</li><li>where cinematographers can go wrong.</li></ul> Tom&#39;s Indie Film Highlight: <a href="https://boxd.it/EV3K" rel="nofollow">SOME RAIN MUST FALL (2024) dir. by Qiu Yang </a>Memorable Quotes:&#34; Framing&#39;s always been more instinctive versus yeah, rule of thirds.&#34;&#34; it&#39;s all about just building connections with other people who have an interest in that kind of work.&#34;&#34; I grew up in a kinda small town in England where it has some similarities to Florida.&#34;&#34; Adam also offered back ends to everyone.&#34;&#34; Sometimes we can try and always show the face too much, and sometimes it&#39;s interesting to withhold a bit from the audience so they can put two and two together themselves or come up with their own meaning.&#34;&#34; Yeah, I definitely wouldn&#39;t put loads of money into a short. I think it&#39;s worth doing a short as a proof of concept, but even if it&#39;s a proof of concept, you don&#39;t need everything to be perfect as long as the storytelling&#39;s good.&#34;&#34; If it&#39;s just white walls and a camera, it&#39;s like you can have the nicest lenses in the world, but it&#39;s not gonna do as much for the story as a proper like decked out place.&#34;Links:<a href="https://www.instagram.com/the.other.tomford/reels/" rel="nofollow">Follow Tom On Instagram</a><a href="https://podcasts.apple.com/us/podcast/the-best-film-ive-watched-all-year-part-1-director/id1689969531?i=1000784182727" rel="nofollow">Listen To Part One With URCHINS Director Adam Rioux</a>

The Best Film I've Watched All Year (Part 2): Cinematographer Tom Ford of URCHINS (2026

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The story behind URCHINS (2026), a coming of age tale set in the waterways of Florida, distills what is best and what is worst about the modern state of independent film. URCHINS is a dazzling display of cinematography and storytelling at its most compelling: it shows Florida like you&#39;ve never seen before and the story is told in a very unconventional way without the tropes of the genre.But: it never made it into a festival. Distributors wondered why it didn&#39;t cost more. A Black List critic gave its script a 4. The film doesn&#39;t fit neatly into the boxes of what people think will sell.Those people are wrong. The film has premiered to sold-out shows around the country; has a substantial social media following versus competitors; and resonates with people who actually watch it.So what we have with URCHINS is a fantastic prism for the state of the industry and even if I didn&#39;t love the film so much, it would make for a great podcast. I&#39;ll be back on Friday with my conversation with cinematographer Tom Ford, and just letting you know in advance, there might be other URCHINS episodes. It&#39;s that good.In this episode, Adam and I talk about:<ul><li>why we both love the film -- Adam says it&#39;s &#34;his love letter to Florida&#34;;</li><li>how he got involved in filmmaking;</li><li>the ways in which his storytelling and resilience set him apart;</li><li>breaking with screenwriting conventions for this film;</li><li>the subtlety of the romance tropes in this film;</li><li>the quick run time of 70 minutes;</li><li>the insanely great lighting and cinematography of the film;</li><li>his advice for filmmakers in developing a visual language like he did for Florida;</li><li>casting for a coming-of-age story by himself;</li><li>the financial aspects of making this film;</li><li>the response from festivals for URCHINS;</li><li>theaters v. streaming and whether you can do both;</li><li>what&#39;s next for him.</li></ul> Adam&#39;s Indie Film Highlight: <a href="https://boxd.it/w2U4" rel="nofollow">POOLS (2024) dir. by Sam Hayes</a>Memorable Quotes:&#34; What sets it apart, especially in the coming-of-age genre, is that it does, like you were saying, subvert kind of the tropes of the genre and...not in an aggressive way, but in a way that to me felt very refreshing.&#34;&#34; My parents were very much like pushing the standard path of get a good job, be able to pay the bills.&#34;&#34; And he was like, &#34;if you only make one film for the rest of your life, if you only get one chance to cash in on this, what is that film?&#34; And at that point, it was just like it had to be URCHINS.&#34;&#34; I hate being too heavy-handed, and that&#39;s maybe sometimes a criticism of my work is that sometimes it&#39;s a bit too subtle at times.&#34;&#34;It doesn&#39;t really have the traditional, like beats in that way or structure, and that is why The Black List hated the script.&#34;&#34; Sometimes people love a film just for a singular character, not even about what they did.&#34;&#34; I remember early on in when I first started doing just video work, I realized I was like, I&#39;m really good at movement and I&#39;m really good at like kinetic energy in a project, but I never felt like I could do still frames.&#34;&#34; It was the best moment of my life probably to just hear everybody just responding to these jokes and feeling the feels.&#34;Links:<a href="https://www.instagram.com/reeeuuuu/?hl=en" rel="nofollow">Follow Adam On Instagram</a><a href="https://www.instagram.com/urchinsfilm/?hl=en" rel="nofollow">Follow URCHINS On Instagram</a>

The Best Film I've Watched All Year (Part 1): Director Adam Rioux of URCHINS (2026)

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Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: JIRO DREAMS OF SUSHI (2011)Director: David GelbCast: Jiro Ono; Masuhiro Yamamoto; Daisuke Nakazama; Harutaki TakahashiSYNOPSISA documentary about an octogenarian sushi master, his two sons, and the tiny restaurant in which they tirelessly work.<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: JIRO DREAMS OF SUSHI (2011)

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/13/21/51278f24-97a3-4126-8460-4a8d323a4b49_sct_podcast_episode_mixdown.mp3

<a href="https://youtu.be/HyZ5RHTlrkI" rel="nofollow">Watch This Episode On YouTube</a>From the looks of it, <a href="https://boxd.it/BLDW" rel="nofollow">LEFT-HANDED GIRL (2025)</a> has everything going for it. Fantastic film. Taiwan&#39;s 2025 Oscar submission (and widely expected to be a nominee.) Edited and co-written by Sean Baker. A Netflix rollout. But the reality is much more complicated.This was a 20 year labor of love by my guest, director Shih-Ching Tsou, and we talk about everything related to her career, how her perspective of the film changed after its release, the drawbacks of filming this on an iPhone 13, the pros and cons of going with Netflix, and more.Shih-Ching Tsou&#39;s story is one of the best in independent film, and I&#39;m so excited for you to hear her perspective about filmmaking and her personal, wholly original, gorgeous film, LEFT-HANDED GIRL.We talk about:<ul><li>Taiwan&#39;s role in her filmmaking;</li><li>how she feels about LEFT-HANDED GIRL now versus when it was released;</li><li>the challenges making the film, even with a top EP; streaming on Netflix; Taiwan&#39;s Oscar entry, etc.;</li><li>how she got involved in filmmaking;</li><li>why LEFT-HANDED GIRL trusts the viewer instead of going for quick hits during the film;</li><li>what it was like directing a six year old;</li><li>the challenges of filming with an iPhone 13;</li><li>how she takes lessons from Sean Baker&#39;s support as EP and editor and passes it on to other filmmakers;</li><li>her recommendations on how directors can give back to others;</li><li>the pros and cons of going with Netflix;</li><li>opening in Cannes;</li><li>the differences between audiences in the United States and globally when watching the film;</li><li>why you should make films in Taiwan;</li><li>what&#39;s next for her.</li></ul> Shih-Ching Tsou&#39;s Indie Film Highlight: J<a href="https://boxd.it/12GGq" rel="nofollow">AIL TIME RECORDS (2026) dir. by Dione Roach and Steve Happi</a> Memorable Quotes:&#34; When I first made the film, I, I didn&#39;t know how people would react to it.&#34;&#34; A lot of people told me about their own left-handed stories, about their own mother and daughter stories.&#34;&#34;I didn&#39;t study film. I met Sean when when he was editing his first feature, Four Letter Words.&#34;&#34;The only challenge [with the iPhone 13] is the focus.&#34;&#34; With Netflix, I feel like LEFT-HANDED GIRL really reached to every corner of the world.&#34;Links:<a href="https://www.instagram.com/blackkittenmadeintaiwan/?hl=en" rel="nofollow">Follow Shih-Ching Tsou On Instagram</a>

Shih-Ching Tsou, dir. of LEFT-HANDED GIRL (2025)

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/11/2/35450ffa-29a4-474b-b714-065335793231_lk_podcast_episode_mixdown.mp3

I talk to filmmakers all the time who say things like, I&#39;m reviving the romcom. Or my film is a homage to 1950s Westerns. The statements encompass so many genres but the truth is, most of the time they don&#39;t work. It ends up being a facsimile of something great, which isn&#39;t good at all.This is a long way at getting to the point that NIMRODS, opening in theaters on August 14th, is the absolute real deal: a film that will remind you of the GOONIES, as my guest, director Lee Kirk hints at, without trying to remake it. It tells the story of three kids driving cross country to open for Green Day on New Year&#39;s Eve, and as you might imagine, complications ensue.I&#39;m so excited to celebrate original art with a director who knows his classics.Lee and I talk about:<ul><li>how he was able to successfully bring back the feelings of 1990s/2000s road trip films;</li><li>if non-Green Day fans will enjoy the film;</li><li>how he got started in filmmaking;</li><li>actors writing parts for themselves and if that&#39;s a way in;</li><li>how new filmmakers can find their voice;</li><li>what he&#39;s learned since his previous features;</li><li>whether this ever was going to be a biopic and how he feels about the genre;</li><li>the amazing casting in this film;</li><li>how he ended up casting himself in the film;</li><li>the festival strategy for the film and the decision to go theatrical;</li><li>the luxury of avoiding social media;</li><li>if being a playwright bleeds over to screenwriting.</li></ul> Memorable Quotes:&#34;We started talking about the movies that we wanted it to feel like, right? So one of the big ones was &#34;Goonies.&#34; We talked about &#34;Goonies,&#34; but also movies like &#34;Footloose&#34; and &#34;Vacation&#34;&#34;It&#39;s a film about being a teenager and the struggles that go along with not having all the agency over your life, having these hopes and dreams and beliefs in yourself, and wanting to find something, wanting to build a life, but frustrated with what you got.&#34;&#34;Every actor should be [writing their own scripts.&#34;&#34; If you like Quentin Tarantino, make your version of &#34;Pulp Fiction,&#34; and you&#39;re gonna find something in there about what you have to say.&#34;&#34;Theatrical was always the goal.&#34;Links:<a href="https://www.instagram.com/nimrodsmovie/?hl=en" rel="nofollow">Follow NIMRODS On Instagram</a>

Lee Kirk, dir. of NIMRODS (2025)

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/8/20/24f04dba-c0e2-48e1-b2f8-b576c8e0454c_overnight_podcast_final.mp3

<a href="https://youtu.be/jG1mSf5chcc" rel="nofollow">Watch This Episode On YouTube</a>Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: OVERNIGHT (2003)Directors: Tony Montana; Mark Brian SmithCast: Troy Duffy; Harvey Weinstein; Chris BrinkerSYNOPSISThis documentary follows Troy Duffy, a brash, foul-mouthed bartender whose screenplay for an action film called &#34;Boondock Saints&#34; scores him a generous contract to write and direct the film for Harvey Weinstein at Miramax Studios. Duffy&#39;s band, the Brood, is also in the midst of signing a contract with Madonna&#39;s Maverick Records. Duffy&#39;s fiery manner is instrumental to his success, but when the deals go sour, no one seems safe from his explosive temper.<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: OVERNIGHT (2003)

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I&#39;m always on the lookout for original filmmaking to highlight, so if you just look at the objective facts of my guest Yiru Deng&#39;s film, TUNNEL VISION (2026), which premiered at LA Shorts International Film Festival on August 4th, 2026, you&#39;ll be impressed:4 minute run time.Animation with just killer transitions that we find out were painful to draw.An excitingly original topic that is made to be shown on a screen.By itself, those are amazing. But then when you hear Yiru speak about what it meant for her mother. who is affected by vision loss, it takes the work so much higher, into the best possible use of what we call filmmaking. I feel so lucky to talk with her about her incredible journey.In this episode, Yiru and I talk about:<ul><li>what she wants people to know about the film;</li><li>what kind of stories are best told through animation;</li><li>how she got involved in filmmaking;</li><li>what led her to apply for UCLA&#39;s MFA program and who she recommends for the program;</li><li>the quick runtime and the unique choices she made for the film;</li><li>why the LA Shorts Film Festival and Los Angeles for this film;</li><li>what she&#39;s looking for in an animated film;</li><li>what&#39;s next for her;</li><li>the amazing transitions in this film and how she drew them.</li></ul> Yiru&#39;s Indie Film Highlight: DON JOSE (2023) dir. by Moshe Ben-Avraham; PILLOWZZZ (2025) dir. by Moshe Ben-AvrahamMemorable Quotes:&#34;The film TUNNEL VISION is about womens&#39; struggles under the expectations and the oppressive love in families.&#34;&#34; I feel like if you have a strong passion in the thing that you wanna do and you feel like you have a clear story that you want to talk about, a clear message that you want to express, of course, go for it.&#34;&#34; It was stunning to watch, but it was painful to draw.&#34;Links:<a href="https://www.instagram.com/ruuudeng/" rel="nofollow">Follow Yiru On Instagram</a><a href="https://yirudeng.com/" rel="nofollow">Yiru Deng&#39;s Website</a>

Yiru Deng, dir. of TUNNEL VISION (2026)

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<a href="https://youtu.be/wiJhlYsCGaY" rel="nofollow">Watch This Episode On YouTube</a>I couldn&#39;t stop laughing during the funniest film of the year, directed by my guest, Elliot Connors. It&#39;s called FULL FRONTAL, or if you want to use the full title (and you should), it&#39;s <a href="https://www.nobudge.com/i-m-going-full-frontal-for-my-nyu-student-short-film" rel="nofollow">I’M GOING FULL FRONTAL FOR MY NYU STUDENT SHORT FILM (2026)</a>, streaming today, August 4th, 2026 on NoBudge.I&#39;d argue getting laughs is the hardest thing to do in independent film so that&#39;s why comedies are so relatively rare. And to do it in a short film -- that&#39;s a tough sell.But Elliot has the, um, goods: He is a 2026 <a href="https://deadline.com/2026/07/jfl-new-faces-2026-unveiled-1236998392/" rel="nofollow">Just for Laughs “New Face”</a> for his adult animated series OMNI, about a dystopian virtual reality and the group of lovable curmudgeons trying to change it. BA from Yale, MFA from NYU, just one watch of FULL FRONTAL, you&#39;ll see what I mean. It&#39;s so, so fucking funny.But seriously: not safe for work. I&#39;m in early on the Elliot Connors rocket ship and can&#39;t wait to get to the Moon.Hat tip to the absolute best friend of the pod, Hope Lawson, for making this conversation happen.In this episode, Elliot and I talk about:<ul><li><a href="https://nitehawkcinema.com/prospectpark/movies/nobudge-live-50/" rel="nofollow">the insane reaction at NoBudge 50 for this film</a>;</li><li>how he describes the film and the reaction for people after watching it;</li><li>how he got involved in filmmaking;</li><li>the difficulty of making comedy work on screen;</li><li>the importance of trusted people on what&#39;s funny;</li><li>handling intimate filming and how he made the case and crew feel comfortable;</li><li>why NoBudge?</li><li>what NYU&#39;s writing program feels about streaming vs. festival rollouts;</li><li>watching a lot of stuff versus a new perspective;</li><li>what&#39;s next for him;</li><li>the challenges of getting comedy shows produced nowadays.</li></ul>Elliot&#39;s Indie Film Highlights: <a href="https://www.youtube.com/watch?v=gxvohK1WOWI" rel="nofollow">PAJARITO (2026) dir. by Pilar Garcia-Fernandezsesma</a>; <a href="https://www.nobudge.com/videos/jeffrey-bad-day" rel="nofollow">JEFFREY, BAD DAY (2025) dir. by Theo Matza</a>; <a href="https://www.imdb.com/title/tt43251249/?ref_=nm_knf_t_1" rel="nofollow">COUPLES THEFTAPY (2026) dir. by Kiran Arain</a>Memorable Quotes:&#34; Kentucker was saying, &#34;We probably got a good 20 seconds of penis there.&#34; And I was joking that I&#39;d used a prosthetic, so it wasn&#39;t my real penis, but it was my real penis. And there&#39;s plenty of it in the film.&#34;&#34; I grew up watching, like binging comedy sitcoms.&#34;&#34; If the jokes are working for you on the page, chances are it&#39;ll translate.&#34;&#34; So I&#39;m always getting notes on my features of &#34;this is not quite working.&#34; But when I write a half-hour comedy, I get a lot more positive feedback because I feel like I know the rhythm more.&#34;&#34; The director of my program, when I said, &#34;should I really be studying screenwriting at such a tough time for the industry?&#34; He said, &#34;It&#39;s always tough.&#34;Links:<a href="https://www.instagram.com/elliotconnors/" rel="nofollow">Follow Elliot On Instagram</a><a href="https://elliotconnors.com/?fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnszU-zGBPf98sQmNURjRhAzNAmSa7tOol8rRcCOEYFbpbT2E9wISCiKDky3Q_aem_dsoQhJ-9nYDJUfbT6ZIPcg&utm_content=link_in_bio&utm_medium=social&utm_source=ig" rel="nofollow">Elliot Connors Website</a>

The Funniest (NSFW) Film Of The Year: Elliot Connors of I'M GOING FULL FRONTAL (2026), now on NoBudge

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/8/1/18/b8b3b551-72e3-465b-8590-2e92301def81_rgm_podcast.mp3

<a href="https://youtu.be/70U-yq1hX-o" rel="nofollow">Watch This Episode On YouTube</a>Every Sunday, I&#39;ll post a quick video -- and podcast -- about an indie film from at least a year ago. Today&#39;s film: RACHEL GETTING MARRIED (2008)Director: Jonathan DemmeScreenplay: Jenny LumetStars: Anne Hathaway; Rosemarie DeWitt; Bill Irwin; Debra WingerSYNOPSISA young woman who has been in and out of rehab for the past ten years returns home for the weekend for her sister&#39;s wedding<a href="https://www.youtube.com/@firstgopod" rel="nofollow">﻿Subscribe to our YouTube channel</a><a href="https://boxd.it/9BMgH" rel="nofollow">Follow us on Letterboxd</a><a href="https://www.instagram.com/firstgopod/" rel="nofollow">Follow us on Instagram</a><a href="https://twitter.com/firstgopod" rel="nofollow">Follow us on X</a><a href="https://www.facebook.com/firstgopod" rel="nofollow">Follow us on Facebook</a><a href="https://www.tiktok.com/@firstgopod" rel="nofollow">Follow us on TikTok</a><a href="https://www.linkedin.com/company/98995039/admin/feed/posts/" rel="nofollow">Follow us on LinkedIn</a>

Indie Film Highlight: RACHEL GETTING MARRIED (2008)

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/30/1/9b625493-e03f-4070-9e37-920aec4fb419_aa_podcast_episode_mixdown.mp3

<a href="https://youtu.be/99oVr0qZNzg" rel="nofollow">Watch This Episode On YouTube</a>There&#39;s something especially New York about the sentiment of my guest, Anthony Argento, saying, &#34;we&#39;re only going to give you what you give us&#34; about film promotion.And in the best possible sense, that kind of New Yorker attitude is at the heart of the Greenpoint Film Festival, now celebrating its 15th year and 7th under the leadership of Mr. Argento, who started officially in 2020 but worked with the festival for a few years beforehand.The Greenpoint Film Festival first came on my radar last year when they accepted the literal second guest of the pod&#39;s film, <a href="https://boxd.it/Vz7k" rel="nofollow">SUNSET SOMEWHERE (2026)</a>, directed by Christopher Jarvis, and my interest only grew when I looked at their international, diverse lineup.With the organizing principle &#34;unbound&#34;, Greenpoint is making its name as a festival for filmmakers by filmmakers, and I&#39;m excited for it continuing under Anthony&#39;s leadership.Make your way to Greenpoint August 5th through the 9th; after listening to this episode, I think you&#39;ll realize why it&#39;s worth it.Anthony and I talk about:<ul><li>why should audience members and filmmakers attend the Greenpoint Film Festival;</li><li>the theme of &#34;unbound&#34; and the lineup for the festival;</li><li>what he&#39;s learned directing the festival for six (plus) years;</li><li>how filmmakers should approach the film festival experience;</li><li>the festival&#39;s place in NYC and nationally;</li><li>social media&#39;s role in accepting films (do you check follower counts?) and what do you ask of filmmakers after accepting their film;</li><li>what he&#39;s learned as a filmmaker running the festival and why he thinks it&#39;s important as a way to stay current;</li><li>the future plans for the festival and what&#39;s next for him.</li></ul> Memorable Quotes:About running the festival during the pandemic: &#34; I came up with the drive-in because we were able to be consolidated in their own cars, in their own bubbles, and everyone was safe and enjoying the the artworks, and we really made it happen, and I feel like that was a revolutionary step for us.&#34;&#34; If you check on our socials, we&#39;re, posting individually for every project.&#34;&#34;We&#39;re only going to give you what you give us.&#34;&#34; I see this a lot...people...hold on to their film and always taking advice and always changing things up and trying to re-edit and that&#39;s the hole that you don&#39;t want to fall into.&#34;Links:<a href="https://tickets.greenpointfilmfestival.org/schedule" rel="nofollow">Buy Tickets For the Greenpoint Film Festival</a><a href="https://www.instagram.com/ant.101/?hl=en" rel="nofollow">Follow Anthony On Instagram</a>

Anthony Argento, Festival Director Of Greenpoint Film Festival

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2026/7/27/21/24e03d65-d50a-4cd9-ab71-b85837aded33_kr_podcast_episode_mixdown.mp3

<a href="https://youtu.be/1yw4n66L0fs" rel="nofollow">Watch This Episode On YouTube</a>I imagine there&#39;s not a lot of debate out there but here&#39;s what I believe: there&#39;s nothing worse in the human experience than losing a son or daughter. It violates our understanding of the cycle of life and it forces a unyielding loss amongst the living that can never be taken away.Any experience so intense can, in the right hands, be channeled to create great art, so I am drawn to stories like <a href="https://boxd.it/10tMm" rel="nofollow">STILL LIFE (2026)</a>, which is an official selection this year of the HollyShorts Film Festival.And let me tell you: in the hands of writer/producer Kate Radcliffe and director Sophie King, they deal with the topic of stillbirth with empathy, humor, and understanding. I think this film will forge important new conversations and result in so many people suffering the worst pain that we could all experience to feel a little bit more heard. Bravo, STILL LIFE team, you made brilliant art.In this conversation, Kate and I talk about:<ul><li>what she tells people about STILL LIFE and how to talk about the film afterwards;</li><li>does a writer need firsthand knowledge of the kind of grief in this film to write about it?</li><li>how she got involved in filmmaking and why she decided to make this film;</li><li>why give away so much in the title and the description?;</li><li>the decision to make the audience rethink STILL LIFE in the middle of the film;</li><li>what makes a film great and not so great on this topic;</li><li>why is comedy so hard to write?</li><li>what&#39;s next for her.</li></ul> Memorable Quotes:&#34; That was the actual reason we made the film was to start that conversation about baby loss.&#34;&#34; We lost Dexter, and we went into lockdown, and so that was incredibly tough, but it meant I had to sit with my grief.&#34;&#34; When I first started writing it, my parents were-- I was like, &#34;Oh, I&#39;m doing a dark comedy about stillbirth.&#34; And they were like, &#34;It doesn&#39;t sound very funny.&#34; Links:<a href="https://www.instagram.com/still_life_short/" rel="nofollow">Follow STILL LIFE On Instagram</a><a href="https://www.instagram.com/SophieKingCR/" rel="nofollow">Follow Sophie On Instagram</a><a href="https://www.straight8.net/shootout-2022" rel="nofollow">The Straight 8 Super 8 Experience That Sophie King Won An Audience Award in 2022</a>

Writer/Producer Kate Radcliffe Of STILL LIFE (2026)

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