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Episode 88 – Microbudget Filmmaking & Distribution with Liz Manashil

Liz is the director of the feature film “Bread and Butter” and is prepping her second feature “Speed of Life.” This week we hear how Liz is making her movies on a microbudget, finding name actors, getting distribution and sustaining her career as a filmmaker.

Listen now or visit iTunes to download it to your device.


Writer/Director Liz Manashil
Writer/Director Liz Manashil

After earning her B.A. in Film and Media Studies at Washington University, Liz moved to Los Angeles to attend USC’s School of Cinematic Arts.

After graduating USC she found work in LA under John Morrison of the California Film Institute, Michael Shamberg of Double Feature Films, Adam Goodman at Paramount Film Group and distribution consultant Peter Broderick.

She now works for the Sundance Institute as an Artist Services Manager where she talks to filmmakers about distribution, marketing, and fundraising.

Her first feature film is “Bread and Butter” which she made for $100,000 using money raised on Kickstarter and from a few small investors.

“Bread and Butter” stars Christine Weatherup, Bobby Moynihan, Micah Hauptman and Lauren Lapkus. We talk to her about getting the movie off the ground, finding the money, getting name actors in her film, and the trials and tribulations of festivals and distribution.

“Bread and Butter” starring Christine Weatherup, Bobby Moynihan, Micah Hauptman and Lauren Lapkus

Liz’s excellent article “Filmmaker to Filmmaker: We Need to Talk About Distribution”

Here are some of the topics we cover in our conversation with Liz:

  • The difference between Speed of Life and Bread and Butter (budget, shoot days, location and actors)
  • how she got a name actors in Bread and Butter:who did she reach out to, what did her letter say?
  • why Liz pays her actors scale
  • why Liz likes microbudget filmmaking
  • The documentary  film “Official Rejection”

Getting in Touch with Liz Manashil

her website:

Bread and Butter:

her IMDB page:

you can email Liz: womanashil (at) gmail (dot) com


And if you liked this interview, consider donating a few dollars to Liz’s second feature film “Speed of Life,” she would certainly appreciate it: Help us make our feature film: SPEED OF LIFE!

Contact Us

Thanks for listening!

We want to hear from you. Leave a comment on this episode here or send us an email

And if you dig the show you can also leave a review on iTunes or Stitcher

Finally, you can find us on Twitter @timothyplain@alrikb and @mmihpodcast!

Episode 87 – A Tweet from Jay Duplass!

This week we cover a myriad of topics including La La Land, Tax season, getting rejected from festivals, the Boston Sci-Fi film festival, a new idea for getting Anthony Mackie in Alrik’s film, the mind game of filmmaking and a Tweet from Jay Duplass!

Listen now or visit iTunes to download it to your device.


Daily Struggle

Alrik talks about why La La Land didn’t live up to his expectations.

Timothy shares his film losses in 2016, his mini-freakout over the 1099-Misc form, and getting rejected from festivals. Yes, Sundance included.

We talk about the Boston Sci-Fi film festival where The Spirit Machine will make it’s world premiere:

Fan Fueled Campaign

Marc Madrigal writes Alrik with an idea for getting Anthony Mackie in his film:

What if you made an “Anthony Mackie for The Alternate” Facebook page? You could throw out some catchy images explaining why he is perfect for the project. Put up a link to the script. Ask your friends to like the page.

Once you have 50-100 likes, share the Facebook page on Anthony Mackie fan sites, Marvel universe subreddits, etc. Make it clear that the goal is to get the script to Anthony Mackie.

I don’t know. Sometimes people are willing to help with crazy ideas like this. What do you think?

This reminds Timothy of the fan fueled Twitter campaign to get Donald Glover in Spiderman:

Or his co-workers “Win a Date with Lady Sovereign” stunt:

The Mind Game of Filmmaking

After meeting with a producer, Alrik shares his newfound enthusiasm for “The Alternate” and we discuss how much of being a filmmaker is mental. That reminds Timothy of a tweet he got from Jay Duplass.

A Tweet From Jay Duplass!

From ‏@jayduplass

@simsjamie @TimothyPlain @cullnane make great shit guys, repeatedly, and no one can deny you. the obstacle is not on the outside.

Screen Shot 2017-01-31 at 12.22.48 PM


Why YOU Should Start a Podcast (or come on ours)

We’re making this podcast to tell you how our films get made, but who are we to have a podcast? We’re not special in any way. We offer the single perspective of two bay area filmmakers trying to figure it out on our own, but there are many other stories to tell. So if you find yourself wanting to respond to our podcast every week, you might want to consider starting a podcast of your own to share your experiences. We’ll listen!

Don’t want to spend the time making a podcast? We have an alternative. How about calling in for a mini-appearance on the show. Write us and tell us what you’d like to talk to us about and we’ll arrange for you to dial in!

Contact Us

Thanks for listening!

We want to hear from you, find us on Twitter @timothyplain and @alrikb!

If you dig the show you can also leave a review on iTunes or Stitcher

Send us an email or leave a comment here

Episode 86 – Lighting TV & Movies with Ryan Thomas

Ryan Thomas started his career as a grip and gaffer in San Francisco, but when the non-union reality show he was working on turned union, Ryan was able to join the local 728 in Los Angeles and eventually make the move to LA to pursue a career as a Director of Photography. We talk about Union vs Non-union, Los Angeles vs San Francisco and TV vs Features.

Listen now or visit iTunes to download it to your device.


Director of Photography Ryan Thomas

Ryan Thomas is a freelance director of photography who simply loves telling stories through images. His dad was a photographer with his own studio who studied under Ansel Adams, so photography was always around while Ryan was growing up. He graduated from the year long San Francisco School of Digital Filmmaking program, shooting 5 short films and a feature. After college, he found PA work through Craigslist and built his way into crewing as a grip and gaffer around San Francisco including positions on Timothy’s movie “The Spirit Machine” and Alrik’s film “Strange Thing.”

After doing AC work for two years and landing a Camera PA job on the local production of Trauma, Ryan decided that working his way through the camera department was not going to be as helpful as working as a Gaffer.


Four years ago, while working on a Non-Union reality show that started in San Francisco and traveled to Los Angeles. The budget of each show was large enough to attract the Union and they showed up on set and organized the crew. Long story short, the production turned Union and Ryan was able to get 26 of his 30 Union days on that production. With just four more days to go, Ryan called all his friends in LA to get more Union work.

He is now a member of Local 728 and just joined Local 600. He lives in Los Angeles and works high profile Union jobs as an Electrician and Digital Utility while building his Cinematography reel on the side

Some of the exciting things we uncover in our conversation

  • The details of a Non-Union production turning Union
  • What it takes to join a Union as an electrician and Cinematographer
  • What’s the difference between Union and Non-Union productions
  • The number of shoot days on a Television show vs the number of shoot days on a feature film
  • Shooting styles of TV vs Movies
  • The differences between living/working in San Francisco and Los Angeles
  • The average age of DPs and Directors
  • Building a career as a Cinematographer
  • Francis Ford Coppola’s advice: “find your oil well.”

Getting in Touch with Ryan Thomas

His website:

His IMDB page:

@RDThomasDP on Twitter

Contact Us

Thanks for listening!

We want to hear from you. Leave a comment on this episode here or send us an email

And if you dig the show you can also leave a review on iTunes or Stitcher

Finally, you can find us on Twitter @timothyplain@alrikb and @mmihpodcast!

Episode 85 – Getting a Name Actor in your Micro-Budget Feature

What makes for a satisfying ending to a movie? And how the hell do you get a name actor attached to your micro-budget feature when you don’t have an agent or a manager?

Listen now or visit iTunes to download it to your device.


Satisfying Movie Endings

Right out the gate, the topic of discussion is “what makes for a satisfying movie ending” as Timothy tries to explain to Alrik why he wasn’t satisfied with the ending to Alrik’s feature script “The Alternate.”

Read Alrik’s Screenplay:

Were you satisfied with the ending to Jaws?

How about Alien?

What about Die Hard?

Would you still enjoy the ending to Die Hard if you ended with Hans’ plunging to his death or do you need those extra four minutes of denouement?

Timothy argues that the success of an ending depends on the story you are trying to tell and though Alrik is channeling the endings to movies like Jaws and Alien they might be the best fit for “The Alternate.” You can’t justify an ending just because it exists or you happen to like it in another film, you have to find the right ending for your movie and Timothy thinks Alrik’s movie is less like Alien and Jaws and more like Die Hard. In movies about survival it makes sense that the movie ends when the last man/alien/woman is standing. But a movie with dramatic underpinnings, Timothy argues, need a denouement. Alrik counters that not all dramatic movies need them.

Alrik argues that he often feels that movies don’t end quickly enough and even Ex Machina, an ending he likes,  is criticized for being 3-minutes too long.

In the end, we agree that a satisfying ending comes down to personal taste and an ending doesn’t need to be satisfying to make the movie enjoyable. Although Timothy doesn’t like the ending to Jaws, he still loves that movie. Want some examples of endings that Timothy finds satisfying? You’re in luck!

“I was watching the endings to a bunch of films lately and noticed that after the hero gets what he/she wants, there is a 4-10 minute end sequence that ties up the loose ends. For me, this creates a satisfying ending. Here are a few endings that satisfy me immensely. I know other films get away with shorter endings, but I never feel very satisfied by them. Do you? Anyways, read these.” – Timothy

Die Hard (TOTAL SCREEN TIME 4-Minutes): Hans falls to his death and we pan down from the building to mass destruction. Twisted metal, a fallen helicopter, etc. And from the wreckage, John and his wife emerge while the fire department heads inside. John sees the cop, Al, that he’s been talking to the whole time and mouths his name, the cop nods and he walks slowly towards him and they smile. They laugh and hug. It’s an orgasmic release of emotion. John introduces his wife Holly. The chief of police pushes through the crowd yelling out “John, you have has a lot to answer for”. Suddenly, one of the bad guys, Karl, stands up with a gun and waves it around. He’s alive! John and his wife hit the floor and someone fires a gun, killing Karl. We reveal the man who pulled the trigger, it was the cop, Al, who has a moment of realization as he’s just experienced a bit of action on the job. Then a limo smashes through the gates of the parking lot and John tells Al not to worry, “he’s with me.” As John and Holly walk towards the limo a reporter sticks a mic in his face and says “Now that’s it’s all over, what are your feelings?” Holly punches him in the face. John and his wife get into the limo and the film ends with John and Holly kissing in the back seat while “Let it Snow” plays.

Home Alone (TOTAL SCREEN TIME 7-MINUTES): The burglars are arrested and Kevin watches them being driven off by the police. It’s Christmas Eve, Kevin readies the Christmas tree and stockings for Santa. Meanwhile, mom is in the back of a van with the polka band and John Candy tells her not to beat herself up about leaving Kevin and tells him stories about bad parenting including his own story about leaving his son at a funeral parlor and that his son came out of it. “Kids are resilient, they get over things.” Back at home, Kevin wakes up on Christmas morning, he calls out “Mom” and runs downstairs. He looks around the house, but no one is there. The house is still empty. He sighs in disappointment and goes to the front door and looks out into the snow. Nothing. He closes the door, and just as he does, the truck with his mom pulls up. Kevin is inside looking at a framed picture of the family when the door opens and he hears his mom yell “Kevin!” but he doesn’t answer. Mom walks in and sees the house is nice and neat and the Christmas tree and stockings are up. Kevin runs downstairs and stands in front of his mom. She looks happy, he looks mad. She says “Oh, Kevin I’m so sorry,” and his face turns from anger to joy and he runs into his arms. Kevin asks where everyone else is and mom says they couldn’t make it, but then they all walk in, arguing and bickering like always and make a few sweet gestures to Kevin in the way a family does like his brother saying “it’s pretty cool you didn’t burn the place down.” As the family turns to unpack and get back to their life, Kevin walks slowly toward the window at the other end of the house. He gets there and looks out at the old man next door who is having a family reunion with his son and granddaughter. As the old man hugs his granddaughter he waves to Kevin and Kevin waves back. Then we hear his brother offscreen yell “Kevin, what did you do to my room!”. FADE TO BLACK.

Inside Out (TOTAL SCREEN TIME 4-MINUTES): Joy and Sadness make it back to Mission Control and to Joy’s shock, Riley is on a bus leaving Oakland. The other emotions tell Joy to get up to the control panel and stop her. And Joy tells Sadness to do it. Everyone is shocked! Joy says to a reluctant Sadness, “Joy needs you.” As the bus starts and moves towards the freeway, Sadness walks to the control panel and when she touches it, it goes dark and then she simply removes the lightbulb. Suddenly, Riley runs towards the front of the bus yelling “I want off, I want off.” Riley runs home to her parents. She comes in and they run to her asking “where have you been? We’ve been worried sick. It’s so late”. Inside her head, Joy looks at Sadness at the controls with a realization. She walks over to her with a handful of happy memories. that turn blue in Sadness’ hands and as she puts them back the memories play, this time blue. Sadness presses a button on the control panel and Riley starts crying and she tells her mom and dad not to be mad, she misses her friends, she wants to go home. They say “we’re not mad. And Dad says “You know what, I miss Minnesota, too.” And they share some things they miss. They pull Riley in to a hug. Meanwhile, inside Riley’s head, Joy hands Sadness a final memory that’s been in her bag and Sadness pulls Joy to the control panel and presses her hand on the emotion button. We cut to Riley and see her feeling both oy and Sadness as a new core memory is created of this moment with her parents. The new core memory is both blue and yellow and the family island is rebuilt. The scene ends with a slow pull out on Riley hugging her family and then a similar shot with Sadness and Joy sharing a moment of Togetherness.

Getting a Name Actor in Your Micro-Budget Feature

The recent distribution stories we’ve heard makes Timothy believe that getting a return on a $100k investment really comes down to a film being something people need to see. They can’t just kind of sort of want to see it, they need to be inspired to pay to see it. So the standard for filmmakers at our level is to make a film that appeals to a fairly large audience. Either it works from a pure marketing standpoint (Sriracha, Super Size Me) it wins a bunch of awards (Krisha) it’s a novelty (El Mariachi, Blair Witch Project, Paranormal Activity) or it’s an crowd pleaser with good word of mouth (Napoleon Dynamite, Once).

The other way to get people to want to see a movie is to cast a name actor. Alrik has been talking about casting Anthony Mackie in his film, the Alternate. But how the hell do you do it without an agent or manager?

Timothy talked to his fellow filmmakers and came back with some answers.

 Our Sources:

1) The writer/director of a micro-budget film with John Ratzenberger (Cliff from Cheers) Shelly Cole (Gillmore Girls) and Cindy Pickett (the mom from Ferris Bueller’s)

2) A local San Francisco Casting Director and Producer that were working with Timothy on Haunted Toyhouse

3) The Asst. Unit Production Manager on La La Land

4) The writer/director of an indie film shooting this year with Josh Brolin and Ben Foster

5) This article:

Based on what he heard, Timothy came up with this list to help you get actors attached to your micro-budget feature:

1. Start with the material. Create more than a script.

No one we talked to went in with just a script. Either they had their funding secured or they had some other materials to show, like storyboards, concept drawings or a proof of concept video. This goes a long way to show how serious you are about your film.

2. Try the obvious solutions first (Sundance Labs, Grants, Producers)

No one wants to hear that the best way to get a name actor in your movie is to get a well known producer attached to your script, but that’s how it happens for a lot of filmmakers. So why not try the obvious solution firstt? Submit to grants, the Sundance Labs, or screenwriting competitions. The filmmaker with Josh Brolin attached to his movie only got that far because he was a finalist in the Sundance Labs program. Being a finalist was enough of a push to get his movie off the ground.

3. Assemble a Team. Build your brick wall one Brick at a time.

Success doesn’t happen overnight, you have to take it one step at a time. Getting a movie off the ground is no different. Start with what and who you have access to and build from there.

4. Raise the money and set a shoot date.

You’ll have an easier time booking an actor if you can make a firm offer.

5. Connect ! (however you can)

As with anything, the more connections you have, the better chance you’ll have at knowing the right person or person who knows a person.

6. Make a list, but be flexible.

It’s nice to have a dream list, but the chances all of the actors you want will be available at the exact same time is unrealistic. Even huge Hollywood movies have a hard time scheduling shoot dates. So be ready to take the backup. You might also want to just approach agents or managers with your shoots dates, your offer and see who they recommend you cast. They might recommend someone you didn’t initially think of. Be flexible.

Contact Us

Thanks for listening!

We want to hear from you. Leave a comment on this episode here or send us an email

And if you dig the show you can also leave a review on iTunes or Stitcher

Finally, you can find us on Twitter @timothyplain@alrikb and @mmihpodcast!

Episode 84 – Traditional and Alternative Distribution with Isaac Pingree

This week we talk to local filmmaker Isaac Pingree who’s releasing his new documentary, The Fred Eaglesmith Traveling Steam Show direct to his audience. Before we get to that we spend half of the show talking about his first feature Day of Vengeance which he made ten years ago and how his experience with getting distribution on his first film, lead him to finding this alternate method. That and much much more on this extra long episode of Making Movies is Hard!

Listen now or visit iTunes to download it to your device.


Meet Isaac Pingree


Isaac Pingree is a local Oakland Filmmaker who directed his first feature film, Day of Vengeance when he was 19 years old. Since then among other projects, he has directed two feature length documentaries and a number of other short documentary projects.

Like many filmmakers he does corporate video jobs to pay the rent while spending as much of his time as possible on his passion projects.


Day of Vengeance

You can find Day of Vengeance on amazon, and I believe it’s available on prime through a digital device but it’s not available on the web, bummer! So if you have a smart device of some kind you should be able to find it!

Isaac started production on his film in 2006, which was an odd time for film technology, digital cameras existed but DSLR’s and the RED weren’t things yet so the best way to get a movie to look like a movie, seemed to be to shoot on film, so that’s what Isaac did.

Lets breakdown the details of the film.

Isaac initially raised about $43,000 to start production on the film, when all was said and done, he spent about $60,000 on everything.

He shot on Super 16mm film.

He shot across 36 days in a small northern California town.

He had a crew of about four, including him, sometimes with a couple more people depending on the day.

Out of all his expenses, about 90% of it went to film costs.

The Day of Vengeance Distribution Experience

So the movie is done, now what? After a bunch of leg work he got two teams of sales agents on board, one for international and one for domestic and through that they were able to sell the film to a number of international film markets. They went with Artist View Entertainment for international and Circus Road Films for domestic.

Things didn’t go as well on the domestic side and after being turned down by all reputable companies they went with a low tier company that were pretty much guaranteed to rip them off but could potentially get the film on Netflix.

When the smoke settled, they had sold to a number of international markets for a total of around $22,000, which didn’t cover the expenses of their sales agents, so they never saw a cent from those deals. On the domestic side they sold to a number of places, such as Amazon and (which quickly folded) and didn’t see any money from those deals either.

The Fred Eaglesmith Traveling Steam Show

Years later, after various twists and turns, Isaac has found himself on a documentary kick, here is the trailer for the Fred Doc.

 Isaac has been a fan of Fred Eaglesmith for years, how did he get connected?

Once he was connected to Fred, how did he approach the project?

What were his expectations for the project?

After the shooting was done, what happened from there?

How are they planning to make their money back?

How is it going so far?

Now that this project is done, now what?

Can you repeat your success with another artist?

Getting in Touch with Isaac Pingree

Buy the Fred Eaglesmith Traveling Steam Show!

Buy Day of Vengeance!

@lagoonsidenews on twitter

Contact Us

Thanks for listening!

We want to hear from you. Leave a comment on this episode here or send us an email

And if you dig the show you can also leave a review on iTunes or Stitcher

Finally, you can find us on Twitter @timothyplain@alrikb and @mmihpodcast!

Episode 83 – Self Distribution with Griffin Hammond

A few weeks ago we talked to Lucas Kitchen about his experience releasing his film through Distribber and were sad to hear he did not make much money at all. After poking around on the web, Timothy found another self-distribution story, this time with much better results. Meet Griffin Hammond, the filmmaker behind the Sriracha documentary which you may have seen on Amazon Prime!

Listen now or visit iTunes to download it to your device.


Meet Griffin Hammond

Our guest this week is Filmmaker Griffin Hammond who made a 34 minute documentary about the famous hot sauce “Sriracha.” He wrote an article all about how he self-distributed this movie and made money! Read the article

Filmmaker Griffin Hammond

Sriracha the Movie

See the Sriracha Documentary here:

Self Distribution and What it Looks Like

You’ve got your movie done, now what? You could go to festivals, find a distributor, or you can do it yourself. Griffin decided to sell the movie himself. After spending $12,728 on production, and another $27,807 on merch and distribution his film generated $76,677 in revenue in 18 months.

Griffin’s article in a nutshell:

1. Vimeo offers the best profit margin in this business

Vimeo’s 10% cut of revenue beats iTunes’ 30% fee and Amazon’s 50% and YouTube’s ad-based monetization is no match for VOD sales. Although YouTube earned triple the views of Vimeo in a third of the time (41,105 in six months), the payout has totaled $110 — $0.002 per view.

2. Viewers watching your film for free on Hulu and Amazon can actually turn into real money

198,826 views on Hulu yielded $13,263. It’s only $0.05 a view, but that’s 25x better than YouTube, and it adds up.

He received a payment from Amazon Prime for $5,061.84 on May 2015

3. Blu-rays and DVDs are expensive and you lose over half of your physical media revenue to expenses.

4. Film festivals are a fun, expensive vacation

He paid $1,758 to enter 42 festivals, got into 24 of them (57% acceptance rate), and paid $5,026 to travel to nine of them

5. Profitable sure, but maybe it’s not sustainable

Sriracha has turned a $36,141 profit in 18 months, but considering how much he would have made as a freelancer producing/shooting/editing, Griffin turned down a lot to make this film.

Here’s a breakdown of Griffin’s 18 month revenue

First 18 months of revenue (As of June 2015)
First 18 months of revenue (As of June 2015)

$100,000 Self-Distribution Breakdown

So now we have a better handle on how self-distribution breaks down. But how do the numbers add up for a $100k budget?

We learned that Amazon Prime pays 15¢ per hour watched, Hulu pays 8¢ per view and YouTube is a mere 1¢ for every 10 views. And as far as we can tell, Netflix offers $5,000-$10,000 for smaller indie films. VOD has the best margins, which we’ll just call 99¢ Net for now.

  • Armed with this new info, here are the numbers required to making money back on a $100,000
    • $20,000 = 20,000 Rentals @ .99 Net
    • $25,500 = 10,000 Buys @ 2.50 Net
    • $50,000 = 333,000 hours streamed @ .15 each
    • $5,000 = 1 Netflix Purchase @ $5,000
  • But that’s a ton of views. can we really expect that many views on our films? Maybe not. Timothy’s realistic expectations for an unknown feature sold directly to friends and family sit around $7,050
    • $300 = 300 Rentals @ .99 Net
    • $250 = 100 Buys @ 2.50 Net
    • $1,500 = 10,000 hours streamed @ .15 each
    • $5,000 = 1 Netflix Purchase @ $5,000

We ask Griffin for advice on getting our money back and he points out that we need to create a long tail on our films and window their release. He points out that his documentary made more money in the second year than the first.

No matter how you cut it, success is achieved through making something people want to see and Griffin found an audience by tapping into a popular hot sauce. Narrative filmmakers must do the same thing either by using a name actor, tapping into a subject or winning awards and gaining word of mouth.

Getting in Touch with Griffin Hammond

Check out Griffin’s new podcast “Hey Indie Filmmakers”

And find him on his website or on Twitter @Griffin

Contact Us

Thanks for listening!

We want to hear from you. Leave a comment on this episode here or send us an email

And if you dig the show you can also leave a review on iTunes or Stitcher

Finally, you can find us on Twitter @timothyplain@alrikb and @mmihpodcast!

Episode 82 – Happy New Year!

Happy New Year everyone! It’s been a rocking and rolling year for both Timothy and Alrik and the guys talk over the highs the lows and what they hope for 2017. We also have a special guest in the form of a listener drop in for yet another discussion on ‘Breaking In’. This is an extra special long episode, so strap in, nurse your hangovers and lets get ready for 2017!

Listen now or visit iTunes to download it to your device.


Continue Reading – Show Notes – Leave a Comment

Episode 81 – Paid Pitches

Websites like Stage 32 and Roadmap writers offer pitches sessions where you can pay to pitch your idea to agents, managers and producers. Do they work? Are they worth it? Over the last two weeks, Alrik pitched his feature script “The Alternate” on Stage 32 and Roadmap Writers to producers and managers. We share his results with a discussion around the experience, the feedback, and we even listen to one of his actual pitches.

Listen now or visit iTunes to download it to your device.


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Episode 80 – Self Distribution with Lucas Kitchen

Everyone can make a movie but when it’s done, what’s the best way to get it out into the world? This week we have filmmaker Lucas Kitchen on the show to talk about his experience working with the aggregator Distribber, how much money his movie brought in and how it all works!

Listen now or visit iTunes to download it to your device.


Continue Reading – Show Notes – Leave a Comment

Episode 79 – Feature Films: Funding and Pitching

We focus on feature films this week with several discussions including “what does a $100k feature really look like?” “How do you ask investors for money?” and “what does a good pitch sound like?”

Listen now or visit iTunes to download it to your device.


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