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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: GOODBYE, HELLO (2024).

Director: Jack Cooper Stimpson

Writers: Jeremy Ford; Bec Pittard

Cast: Steve Guttenberg; Nancy Linari; Hollie Bahar

SYNOPSIS

Nate Ryan returns home to Bundy Canyon to visit his dying father; Nate opens old wounds in an attempt to make peace with his incredibly unpeaceful father.

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That’s my guest, Alex Salam, with one of the most riveting reasons to become a filmmaker I’ve ever heard. Given their significant training, it’s practically impossible to do, but I wish we had more doctor/filmmakers in the world. From those that I’ve seen, they’ve produced work that is equal parts precision and creativity, the perfect combination of soul and mind. 

Alex’s film, TWENTY TWENTY (2025) certainly does that — it’s “set over one brutal night shift at the height of the COVID pandemic and shows a very seasoned doctor’s emotional transformation” — and I feel so grateful we have filmmakers like Alex making art. 

In this episode, Alex and I talk about:

• How a medical doctor + film director relates to other filmmakers — are people curious?;
• Balancing his passions for medicine and filmmaking;
• The existential crisis to do “something artistic that is an expression of myself”;
• Whether he’s surprised there’s not more doctors/filmmakers and the quality of stories from the field;
• How his questions about moral character and medicine influence his filmmaking;
• The push and pull of methodical planning and precision inherent in the medical profession and creativity;
• What makes a great short film;
• The subtlety of his film, TWENTY TWENTY, and how he found his cinematic pace;
• The reaction to the audience of its screening at the Edinburgh International Film Festival;
• The importance of setting the sense of place;
• What he’s taken away from all of the labs and fellowships he’s been a part of;
• What his representatives at The Agency will do for his writing and directing;
• His next films.

Alex's Indie Filmmaker Highlight: NFTS Sean Connery Lab Shorts

Memorable Quotes:

“What medicine has done for me as a filmmaker, it gives you a good understanding of character and emotion.” 

“You have to be clinically insane to go straight to a feature without having done a short or worked on TV.”

On what makes a great short: “Have a beginning, a middle, and an end to a story.” 

“That’s an advantage…if you’re making a drama set in hospital, it’s a shortcut.”

“ The kind of collaborators that I like working with that are important for me to work with [are] other collaborators who can be a little bit vulnerable.”

Links:

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Alex Salam's Website

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The tagline of the podcast is “the future of filmmaking.” I don’t think you can earn that without hosting my guest, Elliott Hasler, who began his filmmaking journey at the age of 10.

Fifteen years later, he’s two features in, the latest being VINDICATION SWIM (2022), a biopic around Mercedes Gleitze and her attempt to become the first British woman to swim the English Channel. Big period pieces aren’t what you’d expect him to take on, but that boldness is partially, he acknowledges, why he’s been successful. He also has a keen sense of the business of film, writing for the film festival Raindance about “What It’s Like to be the UK’s Youngest Film Director.” Elliott is here today to share his unique insight. 

In this episode, Elliott and I talk about:

• His unique start at filmmaking at the age of 10(!) and whether something like that is made easier through YouTube and online tutorials;
• His article “What It’s Like To Be UK’s Youngest Film Director” and what he’d change about it looking back six years; 
• How he related to older filmmakers at 16 and his advice for young filmmakers now;
• Encouraging the youth movement in filmmaking;
• How people should feel when they watch VINDICATION SWIM;
• The challenges of shooting at sea without a green screen or a tank and what drew him to spending his resources on that part of the film versus other elements;
• Whether he’d use AI in a future film;
• What he’s learned about in the world of distribution;
• Whether he’s interested in producing films;
• What a bottle film would like from him, coming from period pieces;
• How to make a unique short film;
• Breaking away from the festival circuit and branding of the system;
• Whether he feels pressure to have a large presence on YouTube, TikTok and social media; 
• Differences in US and UK filmmaking;
• What’s next for him.

Elliott's Indie Film Highlight: WITCHFINDER GENERAL (1968) dir. by Michael Reeves

Memorable Quotes:

“What sets this film apart is the fact that it is all real.”

On nepotism: “if it’s going to make your life easier to get into something, then why not; I certainly would’ve used it, it would’ve made my life a hell of a lot easier.”

“ Making the film is 50% of the journey and then releasing it is the next 50%.”

“ What you always wanna strive for in a film is to take audience somewhere where they've never been before.” 

“ Always aim big. And then you can always temper your expectations a bit. But if you start out too small, then I think you're selling yourself short.”

“ In terms of AI, I think essentially what it will be good as is sort of a big cost cutting exercise.”

Links:

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“What It’s Like to be the UK’s Youngest Film Director.”

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE GRAND SEDUCTION (2013).

Director: Daniel Andre

Screenplay: Daniel Andre

Cast: Brendan Gleeson; Taylor Kitsch; Liane Balaban

SYNOPSIS

Residents of a small fishing community in Newfoundland charm a doctor into becoming the town's full-time physician, in order to secure a vital factory contract.

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I haven’t done a how much I love New York City episode in a couple weeks, so the indie smash, OR SOMETHING (2024), and the film’s director, Jeffrey Scotti Schroeder, makes for the absolute perfect guest. Why is the film being extended at Quad Cinemas? What does it say for indie filmmakers that the Substack crowd got so behind this film? Is it repeatable? Let’s hope so. And if you haven’t seen it at the time this airs, go see it through September 4th. Or later, if we keep talking about it.

In this episode, Jeffrey and I talk about:

• The word of mouth success of OR SOMETHING (2024), whose theatrical run was extended through September 4th;
• His origin story — a true OG throwback to William Morris mailrooms;
• What makes a great agent?
• What to expect when you watch OR SOMETHING;
• How he wound up attached to the film, written by comedy stars Kareem Rahma and Mary Neely;
• What the six day, ultra-low filmmaking process was like and how filmmakers get the knowledge of avoiding dudes in golf carts in New York City;
• How the film blew up on blogs + NYC social media and whether it’s repeatable in cities with a clear sense of place (warning: some Los Angeles indie film bashing in this answer);
• Whether there’s infrastructure to make more of these films in NYC; 
• How much it matters making investors whole to make your next film;
• Whether local government could get behind a gritty NYC film like this;
• What’s next for him — it involves surfing and Rio. 

Jeffrey’s Indie Film Highlight: THE SWEET EAST (2023) dir. Sean Price Williams 

Memorable Quotes:

“The good agents would have a really hard and fast rule that they’d return everybody’s call at least the same day.”

“If you like your classic New York City walk and talk film and if you don’t mind two people talking the entire movie….then you’ll like it. If you don’t like that type of movie, you’re not gonna like this film.”

“Hey, do you wanna do this ultra low budget feature? They were, what’s the rate? And I told them…like..nothing.”

“Whereas New York people are just mind your fucking business on both ends, like we’re filming. And then we’re in their space, excuse me, can you, they’re like, mind your business. It’s New York City.”

“If you’re leading with the idea of profitability, it might not come to fruition.”

“Word of mouth is definitely the only way because we have a $0 marketing budget.”

Links:

Follow Jeffrey On Instagram

Follow OR SOMETHING On Instagram

Brilliant in acting. Brilliant in producing. Brilliant in executive producing. Brilliant in...directing? Let's hope so. Given her extraordinarily body of work, most recently in front of the camera in Gil Henry's PAS VRAIMENT ORDINAIRE (2025), we can only hope my guest, Floriane Andersen, will be in the director's chair soon.

She certainly has made the opportunity for herself; the production company she co-founded, Artak Pictures, has six projects in the works, two of which she is slated to direct. She is not only forging ahead, but creating a path for others to follow.

In this episode, Floriane and I discuss:

• Her origin story and what the words “French actress” means to her;
• Why her production company takes on underrepresented voices;
• Whether she casts based on social media followings and trends;
• Working with first time female filmmakers versus people who may already know how the system works;
• Whether she sees other production companies in the championing female voices space as competition;
• As an actor, producer, and executive producer, how does she approach festivals like Edinburgh and Locarno;
• How actors can best take advantage of attending film festivals;
• Her advice for filmmakers just starting out and specifically for French filmmakers;
• What’s next for her — SIX features! — and she’s attached as a director for two of them.

Floriane’s Indie Film Highlight: TWO NEIGHBORS (2025) dir. by Ondine Viñao

Memorable Quotes: 

“I’m a storyteller, first and foremost.”

“Females voices are underrepresented in the film industry so we will focus on that as long as there is still disparity. But hopefully this is not even going to be a subject soon and we can focus on other underrepresented voices.” 

“Sometimes festivals are not very actor friendly.”

“I don’t see it as work, even if it is a lot of work.”

Links:

Follow Floriane On Instagram

Follow Artak Pictures On Instagram

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RUNNING ON EMPTY (2024).

Director: Daniel Andre

Screenplay: Daniel Andre

Cast: Lucy Hale; Keir Gilchrist

SYNOPSIS

Mort discovers he has less than a year to live. After his fiancé leaves him, he meets Kate on a dating service that matches people by their death dates, all while being stalked by a crazy pimp.

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When you prepare, special filmmaking tends to happen. That’s the case with my guest, Jordan Murphy Doidge, and his new film, CLOUT, which premiered at HollyShorts. It tells the story of a lonely teenage boy who risks everything to prove himself in a bid for online fame. In the wake of Netflix’s hit ADOLESCENCE (2025), CLOUT has resonated with nonprofits and theaters in the United Kingdom. And as the reviews have shown after its world premiere, that’s likely to spread. It’s phenomenal filmmaking that was made possible by being prepared.

In this episode, the early arriving Jordan and I talk about:

• How his team achieved the incredible reach of CLOUT in terms of screenings and partnerships with nonprofits;
• A director’s ability to relate to a story, whether it’s because of age or background, and how that matters in filmmaking;
• His origin story and his sweet yearly tradition with his mother and films;
• How brand work for luxury brands differs from his journey into narrative filmmaking;
• Whether luxury brands should pursue a singular, trusted voice or always keep everything competitive;
• Why he chose to bring CLOUT to HollyShorts and how his work with brands helps with promotion;
• His next project and what it’s like working in London.

Jordan’s Indie Film Highlights: CALM WITH HORSES (2019) dir. by Nick Rowland; SHE RIDES SHOTGUN (2025) dir. by Nick Rowland

Memorable Quotes:

“ I just feel like I've probably been a storyteller for a very long time.”

“It’s all been in the prep.”

“ When you are working with people that truly love cinema, like the real cinephiles you'll spend days just talking about stuff that no one will ever see or get in the film.”

“ When you prep enough, it gives you the confidence to dance to the rhythm.” 

Links:

Follow Jordan On Instagram

Follow CLOUT On Instagram

CLOUT Website

Most people choose (relatively) comfortable and safe topics for their first films. A bank robbery over here, a meet cute over there. My guest, Kristen Gerweck Diaz has chosen Ramadi, Iraq, a phone booth on an ocean cliffside, and her newest, MILK BABY (2025), about a woman’s entry into a maternity home and the sheer enormity of breastfeeding. These are not what you’d call easy topics. But for this lawyer turned filmmaker, she’d never sign up for the easy path, anyway.

In this episode, Kristen and I discuss:

• How people encounter the film based on their familial status and whether their reaction surprises her; 
• The best way to expand stories that are specific to a certain audience and making them universally appealing;
• What her legal degree from UCLA brings to her filmmaking;
• How she sets herself apart with challenging short filmmaking and running a set while keeping everyone involved and valued;
• AI in short filmmaking;
• How she’s not on social media and what that means for her films and the people she casts — can actors afford to be off social media, too?;
• What’s next for her.

Kristen’s Indie Film Highlight: OPEN YOUR EYES (1997) dir. by Alejandro Amenabar

Memorable Quotes:

“ I could always get a B on an exam even if I didn't go to class and didn't memorize all the law. Because 80% of the analysis is your storytelling and your creative thinking.”

“ Do what people are telling you is not possible because it always is.” 

“ [AI] is like the internet, it's not going away, right? It's here to stay and it's gonna advance. And so how can I use it? But in the way that I wanna tell stories that do not compromise.”

“True wealth is the amount of time I can spend offline.”

Links:

Follow MILK BABY On Instagram

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: HELLO I MUST BE GOING (2012).

Director: Todd Louiso

Writer: Sarah Koskoff

Cast: Melanie Lynskey; Christopher Abbott; Blythe Danner

SYNOPSIS

A divorcee (Melanie Lynskey) moves back in with her parents and begins a clandestine affair with a 19-year-old suitor (Christopher Abbott).

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