🎬 Welcome back, Rebels!

Today’s episode of Low-Budget Rebels explores one of the most essential, and deceptively challenging, parts of filmmaking: crafting characters who feel real, grounded, and unforgettable… all without the luxury of big budgets. When you don’t have massive sets, expensive wardrobe, or endless rehearsal time, your characters need to come alive through intention, collaboration, and creativity. And for indie filmmakers, that constraint can actually become a superpower.

Our guests this week show how character-building isn’t about money; it’s about clarity, connection, and confidence in the people who bring your story to life.

We kick things off with Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series. Aaron dives into how he gives actors strong emotional motivation using clear, personal examples that anchor them instantly into who the character is. He talks about ignoring budget anxiety during the creative phase and instead focusing on what matters most: loving the characters so deeply you don’t want to leave them behind. That passion becomes the foundation that makes low-budget performances resonate with audiences.

Next up, Alejandro Montoya Marin, director of Monday, Millennium Bugs, and The Unexpecteds, digs into the heart of character development. Creating people the audience genuinely cares about. Alejandro breaks down how he finds personal connections to his cast of characters and invites his actors to explore, play, and discover new layers on set. By allowing room for interpretation and collaboration, he turns limitations into opportunities for deeper, more honest performances.

Then we turn to Taylor Morden, director of The Last Blockbuster, Getting Lost, and Bampire. Taylor shares the unique perspective he gained from documentaries and how that informs his narrative directing. He explains how staying attentive to an actor’s emotional state and helping them stay anchored in the story can elevate low-budget scenes dramatically. Instead of pushing a predetermined performance or style, Taylor focuses on pulling out an actor’s authentic instincts and the details that make a character feel lived-in instead of manufactured.

Finally, Christopher Fox, director of Rub and My Father’s Echo, expands the conversation by talking about worldbuilding even on the smallest scale. Christopher explains how giving actors props, textures, spaces, and story details helps them fully inhabit their characters. He also dives into how locations themselves can become characters, shaping behavior, mood, and tone in ways far more powerful than expensive sets. For low-budget filmmakers, embracing the environment rather than fighting it can unlock an entirely new layer of character depth.

This episode is all about the craft of building people, not just plot points — characters who feel emotionally grounded, visually expressive, and fully dimensional, no matter the size of your budget. It’s a deep dive into the art of trusting your actors, embracing your limitations, and shaping performances that stick with the audience long after the credits roll.

Thank you again everyone for joining me on the filmmaking journey on Patreon! If you'd like to subscribe and hear the show ad-free, head over to patreon.com/flushstudios. Your support keeps this show going and fuels the next wave of rebellious indie filmmaking.More bold filmmaking conversations are on the way. Stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

Today’s episode of Low-Budget Rebels tackles one of the biggest, most confusing, and most career-defining decisions indie filmmakers face: What the hell do you do with your movie once it’s finished? Do you take the festival route and hope the right people notice? Or do you skip the gatekeepers entirely and push your film straight to the audience that actually wants it? There isn’t a universal “correct” answer — but there are smart ways to evaluate your options. And today’s guests bring a wealth of real-world experience to help you figure out which path is truly right for your film.

We kick things off with Taylor Morden, director of The Last Blockbuster, Getting Lost, and Bampire. Taylor lays out something that not enough filmmakers talk about: not every movie is meant for every release strategy. Different types of films thrive in different environments, and knowing your film’s identity early can save you pain and money later. Taylor digs into how he starts thinking about distribution before he even commits to a project — how the tone, subject matter, and intended audience can shape whether a film belongs on the festival circuit, in niche streaming spaces, or in the hands of fans as soon as possible.

Next up, Alejandro Montoya Marin, the mind behind Monday, Millennium Bugs, and The Unexpecteds, shares how community, relationships, and momentum play into distribution decisions. Alejandro talks about the emotional side of releasing a film, the importance of building a loyal fanbase, and how festivals can be part of a larger ecosystem — not the only metric of success.

Then Christopher Fox, director of Rub and My Father’s Echo, brings in a vital perspective on the business side: distribution red flags. We break down the bad deals, the traps hidden in contracts, and the promises distributors love to make but rarely deliver. Christopher offers invaluable insight into protecting your film, your rights, and your long-term career by recognizing when a deal simply isn’t worth it.

Finally, Aaron Carlson, creator of The Outrider and The Horrorverse Fan Film Series, talks about choosing a completely different path — skipping festivals altogether. Aaron dives into how YouTube, Filmhub, social media, and a direct connection to viewers can create more impact than a traditional festival run. He shares how building your own audience, controlling your release, and understanding modern viewing habits can turn a low-budget film into a real career stepping stone.

For filmmakers who feel shut out of festivals or simply uninterested in that route, Aaron offers a roadmap that’s refreshingly honest and achievable. This episode is all about clarity and empowerment. Whether you’re chasing laurels or bypassing them entirely, the goal is the same: find the path that aligns with your film, your resources, and your long-term creative goals.

And a huge thank you to everyone supporting Flush Studios on Patreon. Thanks to you, these episodes stay completely ad-free over there, allowing for deeper, uninterrupted conversations about the realities of indie filmmaking.

If you’re not already part of the community, you can join at patreon.com/flushstudios for early access, bonus content, and a direct line into the rebellion. More fearless filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re exploring one of the most essential — and most personal — parts of indie filmmaking: building your film family. Cameras, lights, gear… those things matter. But nothing shapes a movie more than the people you choose to make it with. Your cast. Your crew. Your collaborators. Your circle.

This week, we’re breaking down what it really takes to create a trusted, long-term team and how to nurture those relationships so your film family grows stronger with every project.

We kick things off with Alejandro Montoya Marin (Monday, Millennium Bugs, The Unexpecteds), who dives into the power of playfulness on set. For Alejandro, filmmaking isn’t just work. It’s a shared addiction to creativity. He talks about keeping the environment fun, collaborative, and alive, because the best film families grow out of joy, not stress. If people love being there, they’ll keep coming back.

Next, Taylor Morden (The Last Blockbuster, Getting Lost, Bampire) discusses the value of building community from the ground up. Taylor’s all about finding the people in your town, your scene, your orbit who not only want to help you make films but want to help build the actual film community with you. It’s about creating a circle that lifts each other up, project after project.

Then we talk with Christopher Fox (Rub, My Father’s Echo), who breaks down the importance of bringing in collaborators who aren’t above rolling up their sleeves on a low-budget project. Christopher shares how giving people creative freedom and treating them like true collaborators fosters loyalty and how that respect keeps them coming back film after film.

Finally, Aaron Carlson (The Outrider, The Horrorverse Fan Film Series) shares his perspective on long-term creative relationships: water them. Treat people with respect, nurture those connections, and let them blossom naturally. Aaron talks about how kindness and professionalism build bonds stronger than any contract and how people who don't meld with the flow of your projects will naturally fall away.

This episode digs into the heart of filmmaking: trust, consistency, communication, investment, and genuine connection. How do you choose who belongs in your circle? How do you build trust with new collaborators? How do you keep relationships alive between projects? And what happens when someone no longer fits the family?

Your support makes these episodes possible — thank you for being part of this growing, rebellious community. If you’re not a member yet and want ad-free episodes plus bonus conversations, head to patreon.com/flushstudios to join.And don’t forget to follow and support this episode’s incredible guests:

Alejandro Montoya Marin – Monday, Millennium Bugs, The Unexpecteds
Taylor Morden – The Last Blockbuster, Getting Lost, Bampire
Christopher Fox – Rub, My Father’s Echo
Aaron Carlson – The Outrider, The Horrorverse Fan Film Series

More bold, independent filmmaking conversations are on the way . Stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most unpredictable — and genuinely exhilarating — parts of indie filmmaking: improvisation on set. Scripts are the backbone of any movie, but once you’re on location with your cast, crew, props, chaos, and surprises… the real magic often comes from the unexpected. This week’s guests break down how they use improvisation as a tool — not to lose control of a scene, but to elevate it.

We kick things off with Mitch McLeod, director of Silhouette and Marrow, who talks about how meticulous shotlisting gives him the freedom to be spontaneous. By knowing exactly what he must capture, Mitch creates space for creativity, experimentation, and on-the-spot problem solving. He shares how some of his favorite moments came from simply staying open to new ideas on the day.

Next up, Traci and Jon Russell Cring — the duo behind Little Bi Peep, The Night We Met, and Sky Valley — dig into the importance of trust. Trusting your cast. Trusting your crew. Trusting the process enough to let people play while still maintaining structure. They talk about managing egos, avoiding messes, and giving every department room to shine so improvisation becomes an asset, not a distraction.

Then we talk with Max Remmler, creator of 4 Clones Alone, who explores how smart casting opens the door to great improv. When actors naturally embody the energy of their roles, they’re able to try new things, explore, and find moments that feel alive and honest. Max shares how some of his most memorable beats were discovered through letting performers, including family members, bring their own instincts into the frame.

Finally, Ricky Glore — writer/director of Sweet Meats and Casually Cool! — breaks down how embracing genre, tone, and environment can lead to powerful improvised moments. He talks about using what’s around you, reshaping scenes on the fly, and letting trial and error guide you toward something unique and unexpected. He also takes a phone call.This episode is all about flexibility, intuition, and trusting your team — a look at how improvisation can deepen performances, sharpen scenes, and unlock those cinematic moments you could never have planned on paper.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the toughest challenges indie filmmakers face: keeping the spark alive. Finishing a movie is a huge accomplishment — but what happens next? How do you refill the creative tank, carry momentum into the next project, and keep building a body of work without burning out? This week’s guests share the honest, practical, and personal ways they turn one film into the next.

We kick things off with Traci and Jon Russell Cring, creators of Little Bi Peep, The Night We Met, and Sky Valley. They dive into how ideas evolve, where inspiration comes from, and how allowing yourself time, grace, and space between projects can lead you to the story you’re meant to tell next. They talk about reconnecting with what speaks to you — and letting that guide your next move.

Next, Max Remmler, director of 4 Clones Alone, opens up about what it means to live with a film after you’ve wrapped. He talks about how audience reactions shape his understanding of what he actually made, and how riding that wave of energy helps him stay enthusiastic as he transitions into the next creative chapter.

Then we’re joined by Ricky Glore, writer/director of Sweet Meats (available on TromaNOW! this Thanksgiving) and Casually Cool! Ricky breaks down how he chooses his next project by focusing on stories that truly resonate — ones that are both creatively exciting and realistically achievable. We discuss budgeting, pivoting when needed, and how staying grounded in what’s possible can keep the momentum rolling.

Finally, Mitch McLeod, director of Silhouette and Marrow, talks about how enthusiasm is one of the most powerful tools a filmmaker has. He shares why planning ahead and knowing your upcoming ideas can create a natural workflow, giving you the motivation and clarity to keep moving from film to film without losing steam.

This episode is all about energy, inspiration, and sustainability — a look at how independent creators keep going, keep growing, and keep making films even when the process gets tough.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most essential — and often overlooked — parts of indie filmmaking: finding the shot. Whether you’re working with a full crew or flying solo, every decision behind the camera shapes the story you’re telling. This week’s guests share how planning, collaboration, and spontaneity all come together to create the visual language of a film.

We start with Max Remmler, director of 4 Clones Alone, who breaks down the challenges of filming himself and working with an incredibly small crew. He talks about how storyboards changed his approach to production, and how being deliberate about shot planning can still leave room for discovery on set.

Then, Traci and Jon Russell Cring, the team behind Little Bi Peep, The Night We Met, and Sky Valley, talk about the delicate balance between capturing the perfect shot and getting the right performance. They share why doing a thorough breakdown before filming is key to staying organized and creative when it’s time to roll.

Next up, Ricky Glore, writer and director of Sweet Meats and Casually Cool!, opens up about working with trusted collaborators — friends who know how to communicate and understand his creative instincts. That trust, he says, is what ensures he always gets the shots he needs without second-guessing the process.

Finally, Mitch McLeod, director of Silhouette and Marrow, dives into how a detailed shotlist keeps his productions efficient and focused. He talks about identifying where coverage is crucial, planning the “fun” shots, and the energy that comes alive on set when everything comes together to nail the perfect frame.

This episode is all about collaboration, intuition, and the craft of building your movie one shot at a time — a reminder that even the smallest setups can lead to the biggest cinematic moments.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 New Low-Budget Rebels Episode: The Art of Marketing Your Indie FilmHey Rebels!

In this week’s episode, I’m joined by some amazing filmmakers to dig deep into one of the hardest parts of indie filmmaking — getting people to actually watch your movie.

• Traci and Jon Russell Cring talk about how filmmakers can get creative with marketing, involve their audiences in promotion, and use their unique voice as a selling point to build real connections and get people out to screenings.

• Max Remmler dives into the power of titles and posters — how small changes can make your film more accessible, memorable, and easier for audiences to find.

• Ricky Glore shares the success and failures of attempting to take his movie on tour with Troma, booking screenings across indie theaters, and finding the right balance between appealing to a specific genre while still telling your own story.

• Mitch McLeod and I wrap things up by discussing festival strategy, how to engage people to leave reviews, and experimenting on social media in ways that actually get attention.

Every one of these conversations is packed with honest, practical insight — the kind of stuff that helps filmmakers like us not just make movies, but get them seen.

Thank you so much for supporting Low-Budget Rebels! Your support keeps this show going and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:
Traci and Jon Russell Cring – Little Bi Peep, The Night We Met, Sky Valley
Max Remmler – 4 Clones Alone
Ricky Glore – Sweet Meats, and go check out the IndieGoGo for Casually Cool!
Mitch McLeod – Silhouette, Marrow

More bold, independent filmmaking conversations are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

🎬 Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most crucial — and often overlooked — parts of filmmaking: building your audience. Making a great film is only half the battle; finding the people who’ll connect with it, share it, and keep you creating is the real challenge. Today’s guests open up about how they discovered their audiences, how their expectations changed once the film was finished, and how that process shapes what they make next.

First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about making the movie for yourself first — and then realizing your audience might be completely different than you imagined. We discuss learning to pivot, finding where your film truly belongs, and navigating both distribution companies and self-distribution paths.

Next, Trenton Judson, director of Bad B*tch, joins me to talk about trusting your gut. He dives into making the kind of films he personally loves and having faith that others out there share that same weird, passionate taste.

Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to explore how feedback from your audience — whether it’s festival screenings, reviews, or critiques — can evolve your film even after it’s finished. We also talk about why festivals are such an essential way to grow your audience and get the word-of-mouth rolling.

Finally, Dennis Cahlo, director of The Trouble with Tessa, discusses how knowing your distributor or target audience early on can shape how you build the film itself — from tone to genre to marketing. He also shares how trusted viewers giving notes can influence the artistic decisions you make in the final cut.This episode is all about connection — finding the people who get what you’re doing and using that energy to keep creating, growing, and getting your work seen.

Thank you so much for supporting Low-Budget Rebels! Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Jason Zink – Looky-Loo
• Trenton Judson – Bad B*tch
• Jaysen Buterin – Kill Giggles
• Dennis Cahlo – The Trouble with Tessa

More conversations with bold, independent filmmakers are on the way — stay tuned, keep creating, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re digging into one of the most transformative stages of filmmaking: editing. When you finally sit down with your footage, the real story emerges — tone, pace, and emotion all come together in the cut. Today’s guests share how they approach the edit as both a creative playground and a problem-solving tool, shaping their films into their strongest possible versions.

First up, I talk with Jason Zink, filmmaker behind Looky-Loo, about the meticulous planning required for found footage films and how to make sure the edit feels authentically first-person while still telling a compelling story.

Next, Trenton Judson, director of Bad B*tch, joins me to discuss analyzing your footage with a critical eye — what to cut, what to keep, and how studying other films can guide your tone. We also dive into choosing takes for action sequences and effects shots, and the tough decisions that come with shaping a final cut.

Then I sit down with Jaysen Buterin, writer/director of Kill Giggles, to talk about layering your film in post — from score and color to sound design — and the importance of trusting your editor to understand and elevate your vision.

Finally, Dennis Cahlo, director of The Trouble with Tessa, shares why having a fresh set of eyes on your cut can be invaluable. We also discuss finding the right tone during production so that color, mood, and performance all translate seamlessly into the edit.

This episode is all about seeing your film anew in the editing room — finding its true shape, refining its tone, and discovering the story you’re really telling.Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Jason Zink – Looky-Loo
• Trenton Judson – Bad B*tch
• Jaysen Buterin – Kill Giggles
• Dennis Cahlo – The Trouble with Tessa

Stay tuned for more conversation about the craft of low-budget filmmaking, keep kicking ass, making art, and stay rebellious.

Cheers,
Josh

Welcome back, Rebels!

In this episode of Low-Budget Rebels, we’re diving into one of the most crucial parts of indie filmmaking: working fast and smart on set. When time and money are tight, preparation, communication, and creativity become the tools that keep your project alive. Today’s guests share how they maximize efficiency, adapt when things go wrong, and keep their sets moving without losing the heart of their films.

First up, I talk with Dennis Cahlo, director of The Trouble with Tessa, about the importance of communicating clearly with your crew and collaborators, knowing where you need help, and finding the right people who can elevate your vision.

Then I sit down with Jaysen Buterin, writer and director of Kill Giggles, to dig into the value of walkthroughs, prepping your blocking, and setting an atmosphere that keeps your cast and crew sharp, energized, and creative.

Next, Trenton Judson, director of Bad B*tch, joins me to talk about what to do when things go wrong on set, how to pivot quickly, and why casting people who understand the objective of the film can save precious time.

Finally, I chat with Jason Zink, the filmmaker behind Looky-Loo, about embracing the edit while shooting, discovering the good in the moment, and using subtle nuances to enhance the film in ways only low-budget filmmaking can offer.

This episode is all about efficiency, adaptability, and keeping your creative energy flowing no matter the challenges. With the right mindset and preparation, you can make every day on set count — and make your film shine.

Thank you so much for supporting Low-Budget Rebels. Your support keeps the show alive and gives you ad-free access to these conversations. If you’re not already a member, head to patreon.com/flushstudios to join.

And don’t forget to follow and support this episode’s incredible guests:

• Dennis Cahlo – The Trouble with Tessa
• Jaysen Buterin – Kill Giggles
• Trenton Judson – Bad B*tch
• Jason Zink – Looky-Loo

More conversations with bold, independent filmmakers are on the way — stay tuned, and stay rebellious.

Cheers,
Josh