Actress, artist, and producer Jackey Neyman takes us behind the scenes of one of the strangest cult movies in filmmaking history: Manos: The Hands of Fate. Jackey was only six years old when her father joined the production and brought far more than his performance to the movie—he also provided sets, props, costumes, furniture, a car, a Doberman, and his daughter for the cast. Jackey remembers what it was actually like making the ultra-low-budget production, watching the disastrous original premiere, and seeing a movie everyone involved tried to forget suddenly find an enormous new audience decades later through Mystery Science Theater 3000. Jackey also discusses bringing the franchise back with Manos Returns, including crowdfunding the production, assembling an experienced low-budget filmmaking team, bringing surviving members of the original production back, and working toward making the best movie possible with limited resources. She explains why they didn't want to imitate the accidental qualities that made the original Manos infamous and instead wanted to create a genuine continuation made specifically for its fans. It's a fascinating look at how an independent film can fail, disappear, become a cult phenomenon decades later, and ultimately create opportunities its original filmmakers could never have predicted. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

Actress, artist, and producer Jackey Neyman takes us behind the scenes of one of the strangest cult movies in filmmaking history: Manos: The Hands of Fate. Jackey was only six years old when her father joined the production and brought far more than his performance to the movie—he also provided sets, props, costumes, furniture, a car, a Doberman, and his daughter for the cast. Jackey remembers what it was actually like making the ultra-low-budget production, watching the disastrous original premiere, and seeing a movie everyone involved tried to forget suddenly find an enormous new audience decades later through Mystery Science Theater 3000.Jackey also discusses bringing the franchise back with Manos Returns, including crowdfunding the production, assembling an experienced low-budget filmmaking team, bringing surviving members of the original production back, and working toward making the best movie possible with limited resources. She explains why they didn't want to imitate the accidental qualities that made the original Manos infamous and instead wanted to create a genuine continuation made specifically for its fans. It's a fascinating look at how an independent film can fail, disappear, become a cult phenomenon decades later, and ultimately create opportunities its original filmmakers could never have predicted.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Actress, artist, and producer Jackey Neyman takes us behind the scenes of one of the strangest cult movies in filmmaking history: Manos: The Hands of Fate. Jackey was only six years old when her father joined the production and brought far more than his performance to the movie—he also provided sets, props, costumes, furniture, a car, a Doberman, and his daughter for the cast. Jackey remembers what it was actually like making the ultra-low-budget production, watching the disastrous original premiere, and seeing a movie everyone involved tried to forget suddenly find an enormous new audience decades later through Mystery Science Theater 3000. Jackey also discusses bringing the franchise back with Manos Returns, including crowdfunding the production, assembling an experienced low-budget filmmaking team, bringing surviving members of the original production back, and working toward making the best movie possible with limited resources. She explains why they didn't want to imitate the accidental qualities that made the original Manos infamous and instead wanted to create a genuine continuation made specifically for its fans. It's a fascinating look at how an independent film can fail, disappear, become a cult phenomenon decades later, and ultimately create opportunities its original filmmakers could never have predicted. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

IFH 872: How One of the WORST Movies Ever Made Became a Cult Classic with Jackey Neyman

Entertainment writer, screenwriter, and independent filmmaker Andrew Bloomenthal joins the show to discuss what years of interviewing working screenwriters and directors taught him about storytelling, preparation, and the filmmaking business. Andrew explains how his background in financial journalism unexpectedly opened the door to entertainment writing, eventually giving him opportunities to interview filmmakers including Oliver Stone and Michael Moore and contribute to publications such as Creative Screenwriting and Script Magazine. He also shares why every assignment should be treated as a calling card, how detailed research produces better conversations with filmmakers, and why writers need to develop an economy of words regardless of what they're writing. The conversation also gets into deadlines, developing your own screenplays, transitioning from writing to production, and Andrew's experience preparing to shoot a musical short film. He discusses casting actors, recording musical tracks before production, scouting locations, planning shots, and the excitement that comes when something that existed only on the page begins becoming a real film. For aspiring screenwriters and filmmakers, Andrew's experience reinforces a practical lesson: preparation matters, but eventually you have to move beyond thinking about making a film and actually start producing it. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

Entertainment writer, screenwriter, and independent filmmaker Andrew Bloomenthal joins the show to discuss what years of interviewing working screenwriters and directors taught him about storytelling, preparation, and the filmmaking business. Andrew explains how his background in financial journalism unexpectedly opened the door to entertainment writing, eventually giving him opportunities to interview filmmakers including Oliver Stone and Michael Moore and contribute to publications such as Creative Screenwriting and Script Magazine. He also shares why every assignment should be treated as a calling card, how detailed research produces better conversations with filmmakers, and why writers need to develop an economy of words regardless of what they're writing.The conversation also gets into deadlines, developing your own screenplays, transitioning from writing to production, and Andrew's experience preparing to shoot a musical short film. He discusses casting actors, recording musical tracks before production, scouting locations, planning shots, and the excitement that comes when something that existed only on the page begins becoming a real film. For aspiring screenwriters and filmmakers, Andrew's experience reinforces a practical lesson: preparation matters, but eventually you have to move beyond thinking about making a film and actually start producing it.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Entertainment writer, screenwriter, and independent filmmaker Andrew Bloomenthal joins the show to discuss what years of interviewing working screenwriters and directors taught him about storytelling, preparation, and the filmmaking business. Andrew explains how his background in financial journalism unexpectedly opened the door to entertainment writing, eventually giving him opportunities to interview filmmakers including Oliver Stone and Michael Moore and contribute to publications such as Creative Screenwriting and Script Magazine. He also shares why every assignment should be treated as a calling card, how detailed research produces better conversations with filmmakers, and why writers need to develop an economy of words regardless of what they're writing. The conversation also gets into deadlines, developing your own screenplays, transitioning from writing to production, and Andrew's experience preparing to shoot a musical short film. He discusses casting actors, recording musical tracks before production, scouting locations, planning shots, and the excitement that comes when something that existed only on the page begins becoming a real film. For aspiring screenwriters and filmmakers, Andrew's experience reinforces a practical lesson: preparation matters, but eventually you have to move beyond thinking about making a film and actually start producing it. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

IFH 871: The Screenwriting Advice Hollywood Writers Actually Use with Andrew Bloomenthal

A film editor’s job is much like the work of a sculptor. You take a massive block of material—raw footage—and with a series of delicate, precise cuts, you shape it into something cohesive, something meaningful. In today’s episode, we welcome Michael Trent, a master of cinematic storytelling who has spent his career assembling some of Hollywood’s most unforgettable films. From the war-torn beaches of Saving Private Ryan to the eerie corridors of The Hatred, his work is the unseen hand that guides an audience’s emotions, turning chaos into art.For Michael Trent, the journey into the editing room began long before he ever set foot in Hollywood. His father, a sound editor in England, introduced him to the craft at an early age. “I was using a Moviola by the time I was ten,” he recalls, describing the tactile magic of celluloid film. But talent alone wasn’t enough to break into the industry—his leap from England to Hollywood in 1994 was an act of faith, a cold call to the right person at the right time, proving that the universe often conspires in favor of those who dare. Editing is not merely about cutting and pasting scenes together. It is about rhythm, about knowing when to hold a shot and when to move on. It is the balance between subtlety and impact, between quiet tension and explosive release. “I think a lot of editors cut too much,” Michael Trent shares. “You have to feel the emotion of a scene and let it breathe.” His work on The Hatred is a testament to this philosophy, particularly in its ability to sustain suspense, making audiences feel the presence of something sinister lurking just beyond the frame.One of the most fascinating aspects of his career was working alongside Steven Spielberg. Editing Saving Private Ryan meant moving between locations, from an Irish field to an aerospace museum in England, adapting to whatever environment was necessary. But beyond the logistics, Spielberg’s ability to visualize an edit in his head was what amazed Michael Trent the most. “He called in from Japan with an edit suggestion, and when we made the change, it worked perfectly. It was as if he had a video camera inside his mind.”Horror editing, in particular, demands a unique approach. Timing becomes everything—not just in the obvious jump scares, but in the slow-building unease that keeps an audience gripping their seats. A shadow lingering a second too long, a door creaking open just slightly out of sync—these are the choices that make a horror film work. “There’s a scene in The Hatred where Alice walks toward the cellar,” Michael Trent explains. “We held the shot longer than usual, just to build that sense of dread.”To be an editor is to be both an artist and a storyteller, sculpting not with clay or paint, but with time itself. The true test of an editor’s skill lies not in what they add, but in what they take away. Sometimes, entire scenes—ones that took days to shoot—must be discarded for the sake of pacing and narrative flow. “You have to be ruthless,” Michael Trent says. “If it doesn’t serve the story, it has to go.” Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

A film editor’s job is much like the work of a sculptor. You take a massive block of material—raw footage—and with a series of delicate, precise cuts, you shape it into something cohesive, something meaningful. In today’s episode, we welcome Michael Trent, a master of cinematic storytelling who has spent his career assembling some of Hollywood’s most unforgettable films. From the war-torn beaches of Saving Private Ryan to the eerie corridors of The Hatred, his work is the unseen hand that guides an audience’s emotions, turning chaos into art.For Michael Trent, the journey into the editing room began long before he ever set foot in Hollywood. His father, a sound editor in England, introduced him to the craft at an early age. “I was using a Moviola by the time I was ten,” he recalls, describing the tactile magic of celluloid film. But talent alone wasn’t enough to break into the industry—his leap from England to Hollywood in 1994 was an act of faith, a cold call to the right person at the right time, proving that the universe often conspires in favor of those who dare.Editing is not merely about cutting and pasting scenes together. It is about rhythm, about knowing when to hold a shot and when to move on. It is the balance between subtlety and impact, between quiet tension and explosive release. “I think a lot of editors cut too much,” Michael Trent shares. “You have to feel the emotion of a scene and let it breathe.” His work on The Hatred is a testament to this philosophy, particularly in its ability to sustain suspense, making audiences feel the presence of something sinister lurking just beyond the frame.One of the most fascinating aspects of his career was working alongside Steven Spielberg. Editing Saving Private Ryan meant moving between locations, from an Irish field to an aerospace museum in England, adapting to whatever environment was necessary. But beyond the logistics, Spielberg’s ability to visualize an edit in his head was what amazed Michael Trent the most. “He called in from Japan with an edit suggestion, and when we made the change, it worked perfectly. It was as if he had a video camera inside his mind.”Horror editing, in particular, demands a unique approach. Timing becomes everything—not just in the obvious jump scares, but in the slow-building unease that keeps an audience gripping their seats.A shadow lingering a second too long, a door creaking open just slightly out of sync—these are the choices that make a horror film work. “There’s a scene in The Hatred where Alice walks toward the cellar,” Michael Trent explains. “We held the shot longer than usual, just to build that sense of dread.”To be an editor is to be both an artist and a storyteller, sculpting not with clay or paint, but with time itself. The true test of an editor’s skill lies not in what they add, but in what they take away. Sometimes, entire scenes—ones that took days to shoot—must be discarded for the sake of pacing and narrative flow. “You have to be ruthless,” Michael Trent says. “If it doesn’t serve the story, it has to go.”Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

A film editor’s job is much like the work of a sculptor. You take a massive block of material—raw footage—and with a series of delicate, precise cuts, you shape it into something cohesive, something meaningful. In today’s episode, we welcome Michael Trent, a master of cinematic storytelling who has spent his career assembling some of Hollywood’s most unforgettable films. From the war-torn beaches of Saving Private Ryan to the eerie corridors of The Hatred, his work is the unseen hand that guides an audience’s emotions, turning chaos into art.For Michael Trent, the journey into the editing room began long before he ever set foot in Hollywood. His father, a sound editor in England, introduced him to the craft at an early age. “I was using a Moviola by the time I was ten,” he recalls, describing the tactile magic of celluloid film. But talent alone wasn’t enough to break into the industry—his leap from England to Hollywood in 1994 was an act of faith, a cold call to the right person at the right time, proving that the universe often conspires in favor of those who dare. Editing is not merely about cutting and pasting scenes together. It is about rhythm, about knowing when to hold a shot and when to move on. It is the balance between subtlety and impact, between quiet tension and explosive release. “I think a lot of editors cut too much,” Michael Trent shares. “You have to feel the emotion of a scene and let it breathe.” His work on The Hatred is a testament to this philosophy, particularly in its ability to sustain suspense, making audiences feel the presence of something sinister lurking just beyond the frame.One of the most fascinating aspects of his career was working alongside Steven Spielberg. Editing Saving Private Ryan meant moving between locations, from an Irish field to an aerospace museum in England, adapting to whatever environment was necessary. But beyond the logistics, Spielberg’s ability to visualize an edit in his head was what amazed Michael Trent the most. “He called in from Japan with an edit suggestion, and when we made the change, it worked perfectly. It was as if he had a video camera inside his mind.”Horror editing, in particular, demands a unique approach. Timing becomes everything—not just in the obvious jump scares, but in the slow-building unease that keeps an audience gripping their seats. A shadow lingering a second too long, a door creaking open just slightly out of sync—these are the choices that make a horror film work. “There’s a scene in The Hatred where Alice walks toward the cellar,” Michael Trent explains. “We held the shot longer than usual, just to build that sense of dread.”To be an editor is to be both an artist and a storyteller, sculpting not with clay or paint, but with time itself. The true test of an editor’s skill lies not in what they add, but in what they take away. Sometimes, entire scenes—ones that took days to shoot—must be discarded for the sake of pacing and narrative flow. “You have to be ruthless,” Michael Trent says. “If it doesn’t serve the story, it has to go.” Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

IFH 792: The Power of the Cut: Storytelling Secrets from Michael Trent

This week we are joined by Oscar nominee & legendary actor Robert Forster. He dishes out amazing advice to actors, directors and human beings a like. He even tell us his favorite Quentin Tarantino direction he got on the set of Jackie Brown. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

This week we are joined by Oscar nominee & legendary actor Robert Forster. He dishes out amazing advice to actors, directors and human beings a like. He even tell us his favorite Quentin Tarantino direction he got on the set of Jackie Brown.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

This week we are joined by Oscar nominee &amp; legendary actor Robert Forster. He dishes out amazing advice to actors, directors and human beings a like. He even tell us his favorite Quentin Tarantino direction he got on the set of Jackie Brown. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

IFH 001:  Oscar Nominee & Legendary Actor Robert Forster

Here it is! The first episode of the Indie Film Hustle Podcast. I'm going to go over what to expect from the show and from me. I'm here to help you survive and thrive in the film business and get your film hustle on! Take a listen! Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

Here it is! The first episode of the Indie Film Hustle Podcast. I'm going to go over what to expect from the show and from me. I'm here to help you survive and thrive in the film business and get your film hustle on! Take a listen!Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Here it is! The first episode of the Indie Film Hustle Podcast. I'm going to go over what to expect from the show and from me. I'm here to help you survive and thrive in the film business and get your film hustle on! Take a listen! Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

IFH 000: Introduction | Show Formalities | What to Expect

The Indie Film Hustle Podcast is your #1 source for how to hack the film business and indie film world! The show is here to help as many indie filmmakers as I could. We wanted to bring the best guests, industry leaders, creative legends, and film business friends to you, the IFH Tribe. Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Barry Sonnenfeld (Men in Black), Alex Proyas (The Crow, I, Robot), James V. Hart (writer Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls (writer of Fight Club), Oscar® Winner Russell Carpenter (DP of Avatar, Titanic) Joe Carnahan (Smokin' Aces, The Grey), and David F. Sandberg (Shazam!) to name a few. We hope this podcast can help you along your journey as an artist, filmtrepreneur, filmmaker, screenwriter, and as a human being. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&utm_medium=rss&utm_campaign=rss">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

TV & Film

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Education

The Indie Film Hustle Podcast is your #1 source for how to hack the film business and indie film world! The show is here to help as many indie filmmakers as I could. We wanted to bring the best guests, industry leaders, creative legends, and film business friends to you, the IFH Tribe. Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Barry Sonnenfeld (Men in Black), Alex Proyas (The Crow, I, Robot), James V. Hart (writer Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls (writer of Fight Club), Oscar® Winner Russell Carpenter (DP of Avatar, Titanic) Joe Carnahan (Smokin' Aces, The Grey), and David F. Sandberg (Shazam!) to name a few. We hope this podcast can help you along your journey as an artist, filmtrepreneur, filmmaker, screenwriter, and as a human being.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

The Indie Film Hustle Podcast is your #1 source for how to hack the film business and indie film world! The show is here to help as many indie filmmakers as I could. We wanted to bring the best guests, industry leaders, creative legends, and film business friends to you, the IFH Tribe. Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Barry Sonnenfeld (Men in Black), Alex Proyas (The Crow, I, Robot), James V. Hart (writer Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls (writer of Fight Club), Oscar® Winner Russell Carpenter (DP of Avatar, Titanic) Joe Carnahan (Smokin' Aces, The Grey), and David F. Sandberg (Shazam!) to name a few. We hope this podcast can help you along your journey as an artist, filmtrepreneur, filmmaker, screenwriter, and as a human being. Become a supporter of this podcast: <a href="https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=rss" rel="noopener noreferrer">https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support</a>.

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