Show Don't Tell: Micro-budget Filmmaking

Joining me today is Director & DP Emily Skye, who you might also know as "She Wolf Films" on her incredibly popular Instagram account.Emily has been working in the film industry for 14 years, but recently her industry success has reached new heights. After building a massive fanbase for her work online, she created a short film called River. The short was so well received that within just 2 months it landed her financing for the feature length version.Throughout the interview we discuss what it’s like to simultaneously direct and DP your own film, and how doing so can open up some unique creative advantages. Emily speaks to the importance of building an audience for your work, and how her efforts in this area led to relationships with brands like Lumix and RED. We also discuss the challenges of working in the industry as a female filmmaker, and Emily even shares a story about having to walk off a DGA production after experiencing a harassment issue on set.All this and much more on today's episode.Links fr

This week on the show, I’m joined by screenwriter and producer Hudson Phillips to chat all about his new feature film This World Alone.This World Alone is a post-apocalyptic arthouse thriller about three women attempting to survive after a cataclysmic event leaves the Earth without technology or power. The film was shot for just $30,000 over the course of 10 days, with cast & crew living and working together under one roof in the North Georgia mountains. The film went on to have a successful festival run, picking up awards at countless festivals including the Oxford Film Festival and Phoenix Film Festival.Throughout our chat we take a deep dive into the creation and release of this awesome project, tackling everything from production to distribution and loads more. Enjoy!Links from the show:This World Alone - Movie WebsiteHudson Phillips WebsiteFor more like this click here to sign up for my newsletter. 

Today I’m joined by the multi-talented Shane Stanley, whose career has led him to executive produce for Dwayne (The Rock) Johnson, run Charlie Sheen’s production company, and direct his own feature films - just to scratch the surface.In addition to his impressive career as a filmmaker, Shane is also an author and educator. His book What You Don’t Learn In Film School covers filmmaking from concept to delivery, and has been endorsed by some of the most respected names in Hollywood. Throughout the interview we chat all about Shane’s journey, how he was able to navigate the business with such success, critical lessons for filmmakers from his book, and loads more!Links from the show:What You Don't Learn In Film School - BookShane on InstagramShane on FacebookShane on TwitterCINECOLOR Color Grading LUTsFor more like this click here to sign up for my newsletter.

I am currently in pre-production for my next feature film, and will be approaching the budgeting process very differently this time around. Rather than allocating the majority of funds to production, they will be re-distributed to three key areas with the intention of maximizing the film’s potential reach.Most filmmakers fall into the same trap - overspending in production (and post), and leaving little to nothing for their launch. This causes the vast majority micro-budget feature films to get lost in the noise, often failing to find audiences. As we discuss in this episode, by allocating funds to three specific areas (that are overlooked by 99% of micro-budget filmmakers), it is possible to dramatically improve your film's odds of sales, distribution, festival placement, and overall reach.Throughout this episode I outline my budgeting strategy in detail, which can serve as a blueprint for your next feature film.For more like this click here to sign up for my newsletter.

Joining me today is actor, author and filmmaker Leandro Taub. Leandro has found incredible success in many creative disciplines - first as an author (he’s been published 5 times and counting), then as an actor - debuting in Endless Poetry, which premiered at the Cannes film festival in 2016, and now as a filmmaker with his first feature film titled Externo.Throughout the interview we delve into Leandro’s creative process and discuss exactly what it took for him to find success in so many different creative fields. We also chat about his film Externo at length, detailing the entire process from development to production to festival strategy and beyond.Links from the show:EXTERNO - WebsiteEXTERNO - TrailerLeandro on InstagramLeandro on TwitterFor more like this click here to sign up for my newsletter.

Today on the show I am sharing a recent episode of the Filmmakers In Advertising podcast, which I was just interviewed on by host Codey Wilson. As the title would suggest, this podcast is all about what it’s like to work in the realm of commercial production and advertising as a filmmaker - what it takes to balance both sides, how to navigate freelancing opportunities, the benefits of managing your own production company, and more. I don’t often speak about my commercial work on the podcast or my blog, since those channels are mainly focused on narrative filmmaking. But seeing as there are probably many filmmakers in the audience who work in both worlds, I thought this would be a fun crossover episode to help those of you trying to balance both sides. Throughout the episode I share my journey as both a filmmaker and creative entrepreneur, outlining each step of my process and obstacles encountered along the way.Click here to enroll in 6 Figure Production CompanyLinks from the show:Filmmakers In Advertising Po

In this episode, I am joined by filmmaker Jason Charnick, known for his incredible documentary feature film Getting Over, which premiered at SXSW in 2018. Today, Jason is here to talk all about NFTs  - a new technology that’s been generating a ton of buzz in the world of indie film.NFTs are a type of digital collectible that artists (including filmmakers) can use to help monetize and distribute their work in new ways. There’s a lot of debate as to the viability of NFTs in the filmmaking space, so Jason and I sat down to discuss this issue at length. We outline exactly what an NFT is (or could be) in the context of filmmaking, their potential upsides and downsides from a creator’s perspective, how filmmakers could leverage them to find more profitability in their work, and much more.Links from the show:Jason Charnick - FacebookJason Charnick- TwitterJason Charnick - InstagramUp Start Film CollectiveGetting Over - Film WebsiteGetting Over - AmazonHead Above Water - PodcastFor more content like this, click here

Returning to this show this week are Tessa Markle and Carolina Alvarez, co-hosts of the the Femme Regard podcast.Tessa and Carolina have been able to leverage their amazing podcast to not only grow an audience for their work, but also expand their industry connections and meet new collaborators along the way. Throughout the episode we discuss their journey at length, going in depth on the benefits of podcasting for filmmakers, and why it's a path many filmmakers may want to consider. We also talk extensively about social media, discussing its merits as a marketing tool for your work, and why it's not always mandatory for all filmmakers.Links from the show:https://www.femmeregard.comFor more content like this, click here to sign up for my newsletter.

Filmmakers who have audiences of their own are at a tremendous advantage at every stage. From fundraising to distribution to monetization - each facet is enhanced dramatically by the size and value of any given audience.While the prospect of building an audience yourself can be daunting, the good news is it's easier than ever to accomplish… Even for those who don’t have an existing body of work.In this solo episode, I share my thoughts on why having a built-in audience is critical to the success of many films, the psychology of attracting audience members, practical steps to build your audience from scratch, and much more.For more on audience building, be sure to check out my course Online Audience Building For Filmmakers by clicking here.You can also learn more about audience building on my filmmaking community The Backlot. Register by clicking here and get a free 7 day trial.And for more content like this, click here to sign up for my newsletter.

Today on the show, I’m joined by director/producer Joseph Mensch, here to talk about his new feature film Payback, which was just released last month.Throughout the interview, Joseph shares his journey from PA’ing on Martin Scorsese’s Aviator to directing a debut feature film with a budget in the millions. He also shares some critical insights into the importance of representation, while outlining how he was able to secure an agent at ICM by means of a local film festival screening. And of course, we talk about the development and production of Payback at some length, detailing every step of the process from A to Z.Links from the show:Joseph on InstagramFor more content like this, sign up for my newsletter here.

Joining me on today’s episode is writer/producer/actor Luke Barnett, known for his incredible Funny or Die shorts and his latest feature film project - Faith Based, which features Jason Alexander, Lance Reddick, Tanner Thomason, Margaret Cho, and Luke Barnett himself.Luke’s story is super inspiring, and can be looked at as a roadmap for filmmakers who want to break into the industry by bootstrapping their own projects. Throughout the interview, Luke shares his journey from creating DIY short films for Funny or Die to producing feature films like Fear Inc. and Faith Based, while sharing invaluable tactical advice along the way. We talk about Luke’s development process, how he pulls together financing and attaches star talent to his films, his best practices for approaching agents and managers, and much more.Links from the show:Luke on TwitterLuke on InstagramFor more content like this, sign up for my newsletter here.

Today I am honored to be joined by director David F. Sandberg, known for major studio films like Shazam, Annabelle: Creation, and Lights out, as well as his no budget horror short films which he’s been releasing for years under his YouTube channel ponysmasher. David is about as great a guest as I can imagine on this show. His story is a case in point for making your own films and not waiting for permission - As we talk about throughout the interview, after years of working in documentary and animation, David decided to make some no budget short films with his wife Lotta. One of them in particular - Lights Out - was shot in just one day with no crew, and ended up going viral on YouTube. This attracted the attention of Hollywood and the rest is history. Throughout the interview we talk about David’s journey from no budget filmmaker to studio director, the biggest challenges he encountered along the way, advice for filmmakers who aspire to direct studio films, what makes someone a great director, and much more. 

Today, I’m joined by the expert on all things relating to indie-film marketing and advertising - Kyle Prohaska.Kyle was on the show a couple years ago, and his first episode was incredibly eye-opening and packed with great strategies for filmmakers looking to monetize their creative work. But a lot has changed since then, and an updated chat was long overdue.In this follow up episode, Kyle paints a realistic picture of the marketing and distribution landscape today, while detailing best practices for filmmakers looking to turn a profit with their work. We chat about the drawbacks of releasing films on Amazon and iTunes, why building a library of titles can be the best strategy, how upcoming changes to social media advertising will impact filmmakers, and loads more.Links from the show:Prohaska Studios - WebsiteFor more content like this be sure to sign up for my newsletter here.

In this episode, I’m joined by Andrew Simonian to talk all about his feature film The Take Out Move, which was made for just $3500.Andrew spent decades producing and developing television for NBC, ABC, CBS, FOX, MTV, BET, and many others, before deciding to take a stab at the world of micro-budget filmmaking. By calling in favors and assembling the perfect team, he was able to pull off his 74 minute comedy thriller with a virtually non-existent budget, and is now gearing up for the festival circuit.Our discussion covers a full breakdown of Andrew’s film, why he chose to make it at this budget level, lessons learned along the way, and much more.Links from the show:Standard Media CompanyFor more content like this be sure to sign up for my newsletter here. 

To celebrate the launch of my new members community for filmmakers The Backlot, I am publishing this special solo episode to help spread the good news.For some context, The Backlot is a community designed to give filmmakers the tools, resources, and connections needed to bring their feature films to life.Members are on a shared journey to create a feature film of their own this year (optionally), and The Backlot provides the structure, education, and accountability needed to ensure the successful completion of each movie. You can think of it like an incubator for micro-budget feature films... But it can really be used however you see fit - whether for networking opportunities, feedback on your work, collaborations, or just as an educational experience. Over the course of the show, I share the purpose behind this community, explain how it can be used make your feature film a reality, and touch on other fun details relating to guest speakers, giveaways, and more.To sign up for The Backlot click here.For more co

Today I am joined by filmmaking duo Sandy Sternshein & Brad Riddell, here to talk about their feature directorial debut Later Days which was shot for just over $1MM and is currently gearing up for distribution.For some quick background - Brad came up through the studio system, writing films like American Pie: Band Camp, and producing features for studios like Paramount, MTV & Universal. Sandy’s background is in the independent world, with writing credits on films like Pushing Forty and Back to the Grind (an upcoming project for Tony Hawk Productions). Both Sandy & Brad have also taught screenwriting for years and have collaborated since meeting in film school at USC.Throughout the interview, we take a behind the scenes look at Later Days, exploring exactly how the film was pulled off from a creative and financial standpoint. We cover almost the entirety of the process, with special attention paid to development and fundraising. During this section, Sandy & Brad share some fantastic advice on r

On this episode, I’m joined by acclaimed filmmaker and editor Mike J. Nichols, known for his amazing work on countless documentary features like Last Play At Shea, Echo In The Canyon, and (most recently) Zappa.Mike generously shares his wealth of knowledge gained through an incredible career in post-production, leading off with a wild story about how he broke into the business by creating an unofficial edit of a Star Wars film. We also take a behind the scenes look at many of the iconic projects he’s worked on, his creative process, technical workflow, gear setup, and so much more. This is essential listening for documentary and narrative editors alike.Links from the show -Mike on TwitterMike on InstagramFor more content like this, sign up for my newsletter - www.noamkroll.com/newsletter

Many would-be filmmakers dream of leaving their day jobs to make films, but few ever take the leap. Today’s guest is certainly an exception to the rule.Michael Rekola spent years working as a lawyer in the political world, and even served as the Communications Director for the U.S. House Of Representatives in 2014-2015, before leaving it behind to pursue a career independent film.Throughout our chat, Michael outlines exactly what it took to jump ship and make such a drastic career change, while sharing invaluable insights for others who may be looking to do the same. We also chat all about the Capitol Hill Film Festival, why he decided to launch it, how it’s helped the industry come to him, what it’s taught him about filmmaking, and much more.Links from the show - Capitol Hill Film Festival - InstagramCapitol Hill Film Festival - TwitterCapitol Hill Film Festival - WebsiteSpecial Code: Anyone who uses "NOAM" at checkout will save 25% and only pay $5.99 to watch 70+ great short films on a 30 day virtual pass. 

On this episode, I’m joined by Mihai Crasneanu (CEO) and Tess Fenn (Director of Communities & Impact) to hear all about their incredibly innovative streaming platform - Beem. Unlike SVOD or TVOD platforms like Amazon and Apple that offer viewers an endless library of film titles, Beem is focused on creating special live virtual events for films, in a sense mimicking the in-person theatrical experience.This solves a major issue for filmmakers looking to monetize their film through self-distribution, as virtual events can be far more profitable than releasing your film to an SVOD/TVOD library. Over the course of our interview, Mihai and Tess speak to this at some length, outlining best practices for filmmakers looking to leverage Beem as a mechanism to bring their title to an audience, and generate revenue in the process. They also share the story behind Beem, touch on marketing and distribution tips for filmmakers, and much more.Links from the show -https://www.watchbeem.comFor more content like this sign

Joining me today is actor turned auteur, Chris Riggi - here to talk all about his debut micro-budget feature film Good Luck With Everything. This film was shot in just 5 days on a shoestring budget of $1300, with Chris not only stepping in as the writer/director, but also DP’ing, producing, and editing the film.Chris is also an acclaimed actor, with leading credits in shows like Gossip Girl and movies like Vampires Suck. Throughout the episode he shares his journey from actor to filmmaker, while breaking down his process making a feature film that was fully produced from start to finish during the pandemic. We also talk about why Chris likes to DP his own work, what it was like to work from a scriptment, how he captured dynamic shots with minimal shooting time, why he released the film without waiting on festivals, and much more.Links from the show:Chris Riggi - InstagramGood Luck With Everything - AmazonThis episode is sponsored by Film Local - http://filmlocal.comFor more content like this visit www.noamkro