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There's something so inspiring about a filmmaker who has a million different reasons for why he shouldn't be selected for this fellowship or that school, but goes forward boldly, anyway, and stays humble about it.

And also a guy who would love the opportunity to teach at his film school -- NYU -- but I completely believe him when he says that he would quit if it got in the way of his feature filmmaking.

That's the story of my guest, filmmaker Ward Kamel.

Most recently, Ward was selected as one of four individuals and one writing team for the 2024 Academy Nicholl Fellowships in Screenwriting, but that's barely scratching the surface about the wild journey of this unique filmmaker.

In this episode, we discuss:

• how he got started in filmmaking; originally, he thought he was studying science;
• his thoughts on the importance of attending film school -- he attended NYU -- and being a team player;
• whether film school's admissions department did their job, in his mind;
• his film, IF I DIE IN AMERICA, now available as a Vimeo Staff Pick;
• if that film is a template for filmmakers -- can you make a truly fantastic short film and get rewarded for it?;
• how filmmaking is unique in art as it involves more than just the artist's vision -- it's an art with a side of management;
• the story behind how he won a 2024 Academy Nicholl Fellowship and what the process is applying for it (it's a lot easier than other fellowships);
• the surreptitious way in which he was notified by the Academy;
• how he "doubled down" on screenwriting after graduating;
• the left-brain, right-brain-related importance of directing and screenwriting;
• the importance, as Vlad Nikolich noted, of subtlety in screenwriting and how he accomplished that in IF I DIE IN AMERICA;
• treating your audience "like they are geniuses; you can tell when the director thinks you're dumb";
• how "it's very impossible to make something for someone else" in the sense of creating a film you don't believe in;
• how best to capitalize on the moment of a viral video or a prestigious fellowship -- celebration isn't enough, it's "an invitation to share" and you should be ready with whatever's next when that moment comes;
• whether emerging filmmakers feel like they can make films about tough topics -- "I'm Muslim. I was raised Muslim. This is a queer Muslim film. I'm a queer Muslim filmmaker" -- and he concludes that filmmakers should go for it;
• why there is a noticeable lack of Arab and Muslim voices in independent film;
• where he goes to watch films from the area;
• what he would teach at NYU and if there were professors he felt he could relate to
• what's next for this extraordinarily talented, fellowship winning, Brookyln-living, would quit his theoretical job at NYU for his feature film, filmmaker.

Ward's Indie Film/Filmmaker Highlight: JOYLAND (2022) dir. by Saim Sadiq; MY FIRST FILM (2024) dir. by Zia Anger; Brit Marling

Links:

Ward Kamel's Website

IF I DIE IN AMERICA Vimeo Staff Pick

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There is no other filmmaker working today that personifies being the "man in the arena", as Theodore Roosevelt so eloquently put it, than Matthew Heineman. His films have ranged from the frontlines of wars to the sweet and touching portrayal of Jon Batiste in AMERICAN SYMPHONY (2023). Just making one such film could be a career pinnacle -- Matthew has directed 14 wholly original, extraordinary special artistic contributions to the medium -- and he's here to share the details.

In this episode, we discuss:

• you don't just walk onto the stage of Radio City Music Hall, in a special operations team room, or in a emergency room during COVID -- these are remarkably unique places. How did he manage that?
• how he is comfortable in such a wide array of different topics;
• whether he would recommend his path (he says it's important to have a "curiosity about the world");
• how his first film, OUR TIME (2009) was in a way his film school;
• how he sees the difference between journalism and documentary;
• his process regarding trust between filmmaker and subject ("trust is everything"), and he talks about how he earned the trust for the closeups in AMERICAN SYMPHONY;
• the story behind the creation of AMERICAN SYMPHONY;
• his reaction to the whiplash of the media regarding its chances at the Oscars and how he views awards as a filmmaker; Matt talks movingly about his relationship with awards as his career has evolved;
• "why do we make art and who do we make art for are questions that we constantly need to be asking";
• his relationship with the art of filmmaking, his friendship with Roger Deakins, and the importance of sound;
• what's next for one of the most talented filmmakers we have in both the narrative and documentary world and how he is able to toggle between both successfully.

Matt's Indie Film Highlight: MURDERBALL (2005) dir. by Dana Adam Shapiro; Henry-Alex Rubin; SHERMAN'S MARCH (1986) dir. by Ross McElwee

Links:

Our Time Projects

Follow Matthew on Instagram

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Welcome to spooky season in this re-release of my conversation with filmmaker Hoku Uchiyama.

Published last year while he was crowdfunding for WHITCH, we talk about:

• his filmmaking in the Bay Area starting when he was around 10;
• his new project, a horror comedy short;
• his fantastic team and whether you could put together such a cool group of people if you were a horrible person (his answer: probably not);
• behavior standards in indie film, the constraints and excitements of a five minute project, and more.

Links:

Hoku Uchiyama's Website

Hoku Uchiyama's Instagram

WHITCH

Photo By Victor Giovanny Parra

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Be prepared to get a bill from The New School after this episode -- it's an hour with Vlad Nikolić, dean of the School of Media Studies at The New School.

In this episode we talk about:

• how he got started in filmmaking and his advice for new students ("make something every day"; "watch films every day");
• what the average day is like as dean of media studies at The New School;
• can all indie filmmakers be teachers?
• how does he feel about gen z as filmmakers? he talks about the ethos of The New School;
• would he recommend film school?;
• how does The New School handle admissions? what would his advice be for a potential applicant?;
• are students fearless enough? I talk about the boundary pushing of filmmakers like Christian Kamaal;
• the importance of nuance in filmmaking;
• shout out to the brilliant Hannah Fidell;
• the career progression for film school graduates -- working as a PA or starting their own YouTube channel?
• discussing the differences between NY and LA for independent film;
• what's next for him? he's excited about AI; the equipment isn't as important as the story.

Apologies to Will Mustin -- he's shooting in 16mm, not 35.

Links:

Vladan Nikolic Biography

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This is a re-release of my discussion with Ross McDonnell. His film, SWIFT JUSTICE, is up for a News & Doc Emmy in Outstanding Cinematography: Documentary. The awards will be revealed live on September 26, 2024.

Ross died on November 5, 2023. His co-director, Victor Blue, writes movingly about his work. Later on this year, I'll post an episode remembering Ross and the legacy of independent filmmakers.

In this episode, I talk with Ross McDonnell, co-director of the new documentary short, SWIFT JUSTICE, about Sharia justice in Afghanistan.

Ross and I discuss:

• how he got started in filmmaking;
• whether some people are just built for the visual arts;
• the gear behind making a film like SWIFT JUSTICE and how they went about filming "without understanding what was happening in realtime"
• the importance of Christmas movies in Ireland and W.B. Yeats;
• never-ending praise for editors and the New Yorker's prowess in the documentary realm;
• what's next for the documentary field.

Ross' Indie Film Highlight: Jonathan Glazer; Wong Kar-wai; Spize Jonze; Chris Cunningham; Floria Sigismondi; Chris Doyle; Lance Acord

Links:

SWIFT Justice Film

Watch The News & Doc Emmys Live On September 26, 2024

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You can see the artistic talent of Christian Kamaal in the vivid way he describes his life -- he borrowed a camera from his father, who used it to film funerals for his community ("unfortunately, in the city I come from, a lot of funerals"); his power of observation earned him a spot at USC's film school; and he utilized his power of observation, of visual artistry, to make BLACKIFIER, a powerful short that hits you with more thoughts about our world than most features. And that's only half of it. In this episode,

• we talk about the reaction of BLACKIFIER at film festivals;
• why people don't pursue controversial social topics;
• how he thinks we can change festivals to hear more diverse stories ("it starts at the top") and stresses the importance of ownership of your own stories;
• his thoughts on AI in filmmaking;
• are there enough films programs at HBCUs (Historically Black Colleges and Universities)?
• and what this extraordinarily talented filmmaker is working on next.

Christian's Indie Film Highlight: Letia Solomon

Links:

Christian Kamaal’s Website

American Black Film Festival

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This is what you have to give to be successful in indie films: everything.

I'm so proud to share my conversation with So Young Shelly Yo at the start of her Los Angeles theatrical run with SMOKING TIGERS. The film won the AT&T Tribeca "Untold Stories" competition in 2022 and after it screens in LA, it will stream on MAX starting August 23, 2024. Expect it to show up in indie awards season.

In this episode, we talk about how she got started in film; the deeply personal nature of SMOKING TIGERS; what it's like to be a Korean-American filmmaker and how she shares that experience with colleagues; her thoughts on representation and if she's okay with people labeling this as a Korean film rather than specifically a Korean-American or coming of age story. This is such an important topic and she speaks so eloquently on it.

And Shelly concludes by turning expectations around in this interview — you don’t need to rush into your next project, you don’t need to be on Instagram and it’s okay to think deeply about your next project.

Wow.

Shelly's Indie Film Highlight: WHEN THIS SUMMER IS OVER (2024) dir. by Jang Byung-ki; SHORT VACATION (2020) dir. by Kwon Min-pyo; PAPER MARRIAGE (2024) dir. by Jeff Man

Links:

SMOKING TIGERS tickets

So Young Shelly Yo Biography

SMOKING TIGERS Instagram

MUBI (we love you, MUBI)

JEONJU International Film Festival

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Filmmaker Hyejin "Grace" Park has such incredible range as an indie filmmaker: she's directed everything from sci-fi to gangster films and made them her own in a way that's utterly enchanting and unique. Her Vimeo page is a testament to her range as a filmmaker.

In this episode, we discuss how she got started in filmmaking; her goal of making sure minority filmmakers feel seen; how life experiences have made her a better filmmaker; the depth of the story behind her genre-breaking film COMET ORPHAN; what made her decide to use Seed & Spark for the film ("we were way short because we had to built a spaceship"); where you can expect to see the film; and what's next for Grace.

If there's a Grace Park fan club, I'm the first member. Go to her Vimeo and see for yourself. It's truly incredible what she's accomplished and I cannot wait to see what's next.

Grace's Indie Film Highlight: Christian Kamaal

Links:

Grace Park's Vimeo Page

Meet Hyejin "Grace" Park

Hyejin "Grace" Park's Website

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After listening to all five finalists of the Bloomberg Green Docs, be honest -- there's no way you can tell who won. They are all that good. In part 1, I talked to the judges and today, you'll hear from the five finalists.

• LIFE WITH BATS by David Luff
• CLIMATE DIARIES: HEATHER'S STORY by Berit Anderson and Ali Scattergood
• FINDING HOME by Maria Stanisheva
• GROVE OF GIANTS by Bree Sanders
• SAVING GLACIERS by Ciril Jazbec

And you'll hear who won. But as David Luff says, they all won by being a part of this process. Thanks again to Bloomberg Climate for helping make these interviews happen.

Links:

Bloomberg Green Docs

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This week is all about the Bloomberg Green Docs festival, held in Seattle on July 12, 2024. Thanks to Bloomberg Climate, especially Emily Anton and Courtney J. Boland, I interviewed most of the judges and all of the five finalists.

Taken altogether, they paint a picture of where the industry is going in regards to climate documentaries; how nonprofits are changing views through both narrative and documentary filmmaking; the secrets to success in a tough industry; and what they were looking for from the five finalists.

I've broken down the interviews into two episodes: the first is with the judges and the second with the finalists. Maybe you've read who won, but if you haven't, I urge you to go on a ride with me this week and wait till the end of part 2 to see who takes home the $25,000.

In this episode, I talk with:

• Aaron Rutkoff, Executive Editor, Bloomberg Green
• Will N. Miller, Producer, The Territory & Co-founder, Documist
• Jill Tidman, Executive Director, The Redford Center
• Lindsay Firestone, Film & Special Content Projects Lead, Bloomberg Philanthropies

In part 2, I'll talk with the five finalist teams:

• CLIMATE DIARIES: HEATHER'S STORY by Berit Anderson and Ali Scattergood
• FINDING HOME by Maria Stanisheva
• GROVE OF GIANTS by Bree Sanders
• LIFE WITH BATS by David Luff
• SAVING GLACIERS by Ciril Jazbec

Links:

Bloomberg Green Docs

The Redford Center

A Louisiana Story (the 1948 film Lindsay Firestone references)

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