#Microbudget Filmmaking

[garvescope]

What I Wish I Knew Before Releasing My Indie Film

Distribution is where most indie filmmakers go to die—or at least to disappear quietly. After the blood, sweat, and credit card debt of production, it’s easy to think your job is done. But distribution is not dessert. It’s not a celebration. It’s the war after the war, and most of us walk into it completely unarmed. You don’t know what you don’t know. Until you do. And by then, it’s usually too…

[biggoldbelt]

Behind the Scenes of 'Micro Budget' with Morgan Evans and Patrick Noth

Morgan Evans & Patrick Noth Interview by Big Gold Belt Media with @AroundTheGeek – Terrell –Synopsis:A comedy feature about an aspiring director who recklessly moves himself and his nine-months-pregnant actress wife from Iowa to LA to shoot a low-budget indie movie and sell it to a streamer for a “f***-ton of money.” Tags#MicroBudget Thank you for watching our videos here at BGB Media! If you…

[kylesvariouslistsandstuff]

Pixar's ELIO, directed by COCO co-director Adrian Molina, would've opened today... Albeit a much different version of the movie.

The delay from this date to June 2025 meant that the fast food promo deals put in place a while ago couldn't be changed, thus - HOODWINKED TOO style - some of the toys are out now, as seen in the pic above...

Yep, I've heard by now what ELIO has supposedly been going through.

It's a unique Pixar production in that it was delayed by about a year and a half...

... AFTER a teaser trailer and poster for the film were released, following a big info drop on the movie at the fall 2022 D23 Expo...

Not even THE GOOD DINOSAUR, an infamously troubled Pixar production, went through that. That film was delayed before anyone outside of D23 attendees saw any footage from the scrapped version of the film, though renders of the older bigger Arlo and the bipedal version of Spot did leak.

All of this agita for ELIO...

... and I feel fine! Yeah, I'm not really worried about this movie.

It's easy to equate "troubled production" with "oncoming disaster", something that's absolutely gonna fail, an abomination from the get-go.

Yet, TOY STORY 2 and RATATOUILLE exist. Other Pixar films, and plenty of other animated movies, go through some form of hell before the ship is steered away from the cyclone. Sometimes within a year or so from release. The end results are always subjective anyways.

So, I have no idea how ELIO will turn out. If it's a movie *I* myself like, if it's a movie that resonates with the public, yadda yadda yadda.

ELIO, however, does not seem like a GOOD DINOSAUR situation to me. GOOD DINOSAUR not only lost its director (Bob Peterson), but the whole movie was thrown out and the replacement director (Peter Sohn) started over from scratch with a few core elements retained. ELIO seems like it's going to be half the movie we saw in the teaser this past summer, and a lot of new stuff. Sections being reworked, rather than the whole movie being thrown out and Molina & co. starting over. Voice work to be done, especially post-strikes, and they'll need time to animate all the new stuff. Pete Docter isn't the leader John Lasseter was, Lasseter likely would've canned Molina and had another director reimagine the concept/story to his liking.

I think it's cool, if this is all true, that Docter is giving Molina and the filmmakers more time to rework the film. Especially after the marketing campaign has kicked in. With that, it probably should stay in June 2025. I had thought for a bit that it could move up a bit and take MOANA 2's place, because that Thanksgiving release sounds like it's going to be a crunch production, what with Auli'i Cravalho and The Rock signing on *just recently* to reprise their roles nine months before release. I'd delay that to spring 2025, honestly. Disney can afford to miss the Thanksgiving slot this year, they'll be fine. INSIDE OUT 2 and CG LION KING prequel can be their sole animation releases this year, even if the latter won't be billed as such.

As for its box office prospects? Big budget sci-fi animated features, even in a not-COVID world, struggle. Especially space-setting sci-fi animation. TITAN A.E. and TREASURE PLANET, anyone? Only something very low-budget would cut it, but we're talking $200m Pixar movies, not that microbudget CLONE WARS movie. (STAR WARS isn't sci-fi to me, but you get my drift, right?)

Pixar, however, *did* score a box office hit with WALL-E all the way back in 2008. Despite the spacebound adventure and the future Earth setting, the marketing wisely focused on the cute robots in love. That got folks to see it back then, methinks. ELIO will need a similar hook, and it's a summer release as well, so it could be primed for a blockbuster run.

However, most non-sequel animated features play a different game now, in a post-COVID outbreak world: Open tiny, have ludicrous legs. That's fine if your feature cost $90m and you made around $250m at the worldwide box office, but like ELEMENTAL before it, ELIO's probably going to need to make around $500m worldwide to break even in the eyes of the money people - who seem to keep forgetting that animated movies have fantastic longevity beyond their theatrical release. ELEMENTAL had the fun premise and the love story working in its favor after its blah opening weekend (though it was pretty high for a post-outbreak animated opening), ELIO... I don't know what it has at the moment. Will the "kid becomes Earth's ambassador within a massive council of aliens" really get audiences to come flockin' in summer 2025? I do not know, but I hope it does good, for Molina's sake, and so we can be spared the five gazillion "is Pixar circling the drain???" articles...

All I know is, I'm looking forward to it. Space adventure and colorful aliens and stuff, by way of Pixar and their resources.

[cometcrystal]

Ppl on this website always go on about how they're smart enough to not fall for marketing while they unironically post about the Barbenheimer hype train. Ppl say they hate big studios/corporations and want Barbie to be taken seriously and say it should be Oscar nominated. But if you apply serious analysis & critique to this million dollar film advertising a huge corporation, they say "it's the Barbie movie it's not that serious" "you just hate fun, let people enjoy things". You can't have it both ways!! All art is subject to critique & analysis!!! Even if it didn't have the (bare bones) message about feminism, it would still be valid to critique it like you would an "art house" film. Anyways all of this is to say if these people actually want to see films that are interesting and take risks like they say, they'd stop depending on big studios and make the effort to seek out and support indie filmmakers. And I don't mean just watch an A24 film lmao. Seek out microbudget & foreign stuff and explore resources like Kanopy & Mubi. But that requires actual effort 🥴 (sorry to rant in ur inbox)

No i agree with you. Im not trying to keep anyone from enjoying it because god knows i enjoy a lot of braindead shit but like...critical thinking isnt gonna kill you guys. And the barbie movie has so many insane implications tied up in a bow of platitudes and i feel like im going insane with the way people are talking about it

[kvibestudios]

Hollywood's Indie-Tech Revolution Unveiled

In recent years, the clear lines dividing Hollywood studios and independent filmmakers have increasingly faded, forging a collaborative atmosphere that is transforming the cinematic landscape. This once distinct separation is now blending, fueled by the emergence of inventive startups and tech-driven solutions based in Los Angeles. In the year 2024 alone, startups in the LA region secured $1.8 billion in venture capital aimed at AI content creation and digital storytelling innovations. This synergy not only affects workflows and storytelling forms but also facilitates the incorporation of new cultural narratives into mainstream Hollywood.

Independent startups are forming strategic partnerships with major studios, with Lionsgate leading this trend by entering licensing arrangements with AI-focused startups such as Runway. These collaborations are beneficial for studios seeking to enhance pre- and post-production efficiency while also expanding creative possibilities within budgetary and time constraints. Distribution channels have never been more interconnected. Companies like A24, Neon, and Searchlight, which have roots in indie storytelling, now operate as significant distribution branches connected to mainstream studios, boosting marketing reach and influence for indie productions.

This shift is also observable in the wider scope of indie cinema, as demonstrated by the alignment seen in film festivals and awards seasons. The distinctive storytelling style of independent cinema is being increasingly woven into mainstream content, offering audiences engaging genre hybrids and microbudget star vehicles. Mainstream industry support now allows independent filmmakers to access festival and awards circuit advantages that were previously inaccessible due to scale limitations. Furthermore, the rise of startups focusing on ethical AI development has become vital, equipping filmmakers with the tools needed to better protect intellectual property. This shift towards transparency in creative processes marks the beginning of an era focused on ethical content creation.

The resurgence of indie filmmaking is partially attributed to technological and platform innovations adopted by creative teams excited to explore new methodologies while maintaining core values. Startups are concentrating on developing AI tools that effectively enhance artistic potential—enabling rapid and economical progress from ideation to high-caliber visualizations. Supporting this evolution is the burgeoning creative economy, driven by powerful digital-first platforms that garner attention and invite diverse talent migration, thus propelling this development.

For aspiring indie filmmakers aiming to engage with this vibrant Hollywood scene, understanding best practices is essential. Collaborating directly with emerging tech firms opens opportunities for valuable partnerships. Working with companies that have studio alliances can support hybrid projects merging indie film independence with the powerful distribution networks of larger players. Additionally, partnering with startups recognized for ethical data management practices provides essential strategies for protection, emphasizing ownership and transparency in this new era of AI integration.

Significant players and alliances underscore the potential of effectively merging technology with the strengths of independent filmmaking. Moonvalley has made noteworthy contributions by pioneering ethical AI-generated content innovations aimed at safeguarding creator rights while producing quality outcomes. Similarly, the strategic collaboration between Runway and Lionsgate enhances crucial production elements in Hollywood blockbusters. Financial initiatives led by DreamFlare and The Unreasonable support creators spearheading AI-related projects, demonstrating new funding models designed to stimulate innovative independent content.

Those who remain doubtful about the growing synergy between startup innovation and Hollywood megastudio operations may benefit from practical insights by exploring this space. By establishing direct relationships with startups, indie filmmakers experience an initial-stage synergy that drives groundbreaking project beginnings. Staying informed of financial trends fosters potential opportunities for better foresight in financial strategies. Hybrid distribution methods balancing creative independence with audience reach provide greater visibility for personal creative endeavors.

Adopting AI tools developed with care by ethical partners leads to effective resource maximization, workflow improvements, and eventually polished production results that retain artisanal integrity despite scaled budgets. Exploring ventures rich in positive intent is essential as indie filmmakers and creators increasingly engage with mainstream media opportunities through startup integration, redefining Hollywood’s narrative and operational features while capturing the current zeitgeist.

#Indie #Hollywood #FilmMaking #AI #Cinema

Explore how indie films are reshaping Hollywood relations at https://www.kvibe.com.

[indiespacesite]

'Tomorrow Ever After': How a Microbudget Sci-Fi Director Got Technicolor and B&H Behind Her

Indie filmmaker Ela Thier talks with No Film School's Liz Nord about her microbudget sci-fi film, Tomorrow Ever After, and how it came to be: "I'm a filmmaker, so I'm used to watching and thinking up stories that are really about human relationships. To me, the big chases and explosions and set pieces are the way people feel about each other. That's what every film I make is about."

[streamondemand]

'The Blair Witch Project' – a new kind of horror at 25 on Peacock

“In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary. A year later their footage was found.” There was nothing like The Blair Witch Project (1999) when it hit movie screens at the end of the 20th century. Shot on an microbudget on digital cameras (before digital photography became the standard for theatrical features),…

[impablohurtado]

Rest Easy C.C

I found out yesterday that a person I went to middle and high school with took his own life. It made me really sad to think about even though we hadn’t talked in some time. For a half-hour, I read posts of his friends and family sending their condolences. I read the same set of words multiple times, “You don’t have to suffer anymore.” He was only two months older than me, having turned 32 in May.

We hadn’t spoken in many years, but he was still a friend on social media. I’d see his posts and we’d interact the way people do, liking a post here and there, but never anything outside of brief comments. It’s easy to say, I wish I’d been there. It’s self-important to believe we can save people who hurt that way, I know this too well.

In middle school, there were three of us always talking about the thing we loved, three kids who were into film over anything else. I remember sitting with him in the sixth grade at lunch talking about the release slate for the year, about what we were excited for, debating our top 10’s, and talking about what film sites we liked. At the time, we were your typical film nerds, so sure of our tastes and how we knew what the good movies were.

Thinking about it I realized this would'e been 20 years ago, us having entered middle school in 2004 at 12 years old. We were so young.

That went on for three years, always talking about movies, all of us discovering new favorites and talking about them. Seeing films from Tarantino, Scorsese, Kurosawa, Hitchcock, and Kubrick for the first time and being blown away, expanding our tastes and debating over what was good and bad.

We both wanted to be filmmakers when we grew older. I always respected him because he did it. When high school came and we stopped talking, he would do small films with friends. He went the theatre route and did plays. He dedicated so much of his time to doing the thing he loved unabashedly. He didn’t care how he dressed or if it seemed silly. He was all in from the jump. At the time, he would put out microbudget movies. I’d watch them and appreciate the fact he went on to do what he wanted. Even after graduating he’d work with local film companies and make movies he’d release independently. The size never dissuaded him. He acted, directed, worked with a crew to put together a vision; he did it because he loved film. He even managed to get films on smaller festival circuits, and I always thought that was really cool. I used to think that maybe, had we remained friends, I would’ve worked with him. I was the only one of the three of us from middle school who didn’t go on to work in film on one level or another.

I knew he struggled with his mental health. We’d shared that in common over the years. He’d like the stories I’d write, and I’d try to comment words of encouragement when I saw his posts sharing how he was doing in life. I’d watch the movies he’d put out, I wish I had messaged him to talk about them with him.

I think about how I’ve struggled with the ideation for years and made it this far, to the point I was happy I made it to 30, a milestone I’d always written off. I have my moments where it circles in my head. It’s uncontrollable for me, but I like being here. Last year, I had one of my lower points where I called and spoke to my dad about it on a particularly rough night. He was there for me when I couldn’t think of anyone to speak to, even if at the time I was ashamed to speak to him in that condition. Now I wonder about my old friend and wonder if he didn’t have someone to speak to. I think about how he lost a battle I also feel I’m sometimes fighting. A part of me thinks it's unfair to put it that way, to say he lost for all the life he lived.

It scares me thinking about that, even though I don’t plan on going anywhere. There’s too many people I love, things to see, I want to see my nieces and nephews grow, and to share memories with people I like being around. I'm at a good place in my life, positive about the future, even in my low moments, there is good for me I look to... mostly. I wish he felt the same way. I wonder if he sometimes did.

After I read condolence posts, I scrolled through his feed to see what he was doing lately; I saw him living his life in a relationship, enjoying the days the way we all try to. He seemed happy.

I couldn’t do anything; I don’t delude myself in thinking I could. I wish someone could’ve though. I know better than most that it doesn’t work like that. Life is hard sometimes, it’s a fight we don’t all make it through.

Rest easy Cam. I hope you get to meet all those filmmakers who we loved growing up who are no longer here.

[rebeleden]

GirlCrushTV Presents CoquieHughes Interview on microbudget filmmaking

100

[trentonhoshikocinematography]

This Video Covers: The Zoom F3's basic features, basic tests, and how it can be useful for microbudget filmmakers, documentary filmmakers, and videographers!

📹 Gear Discussed and Used Affiliate Links:

Zoom F3 https://amzn.to/3PtlZiJ

Micro SD Card I used (Non-Affiliate Link): https://www.target.com/p/sandisk-extreme-plus-32gb-microsd-action-camera-card-with-adapter/-/A-52316635

[rantsofajerk]

Seriously youtube, WTF?

(Pictured L-R; The GLORY HOLE star Philip Richardson, cohost Ruttegar Mannequine and show creator Dave O’Shea, seated and plotting revenge. Photo credit: Kerry Doss)

SERIOUSLY, youtube. What the F**K?

Hi, kids! Haven’t posted on here in a while but, well, something came up.

For those who don’t know me, I’m Dave O’Shea, an independent filmmaker and artist in San Francisco. VERY independent. I've written, produced, directed, edited and occasionally acted in dozens of self-funded microbudget productions over the past 15+ years, including an award winning horror feature (DAY JOB), numerous short films and a late night public access sketch comedy series called The GLORY HOLE which has been airing in San Francisco and various Bay Area cities for the past six years and counting. 

Like most underground filmmakers striving to gain a broader audience, I've been posting many of my creations on youtube for well over a decade. Trailers for my films, clips and ads promoting my TV show, cultural mini-documentaries, music videos I've shot, random comedy and animated shorts, anything and everything. Not only is it the most visible platform out there, it's easily the best way for artists like myself to put our work out there--to be seen, enjoyed and possibly even to get us discovered by the ‘gatekeepers’ and advance our careers. Nothing I’ve posted has gone ‘viral’ per se, but I’ve accumulated tens of thousands of views over the years, which ain’t bad for a virtual unknown.

As a purveyor mainly of horror and dark comedy, much of the content I create is confrontational, subversive, provocative, political and deeply satirical. The intent with my current project, The GLORY HOLE, is to blend the most ridiculously absurd premises with topics that I'm genuinely passionate about, both pro- and against. There's a recurring bit throughout the series where our host (Phil Richardson) complains about some insane situation currently going on in the country and he stares right into the camera and chastises, "Just Stop It, America! You're Embarrassing Yourself!" Targets frequently include racism, religious fanaticism, disposable fads, nationalism, police brutality and good ol’ American stupidity in general. No shortage of any of the above to throw artistic stones at in 2023, sadly.

On the absurdism side, the show's cohost is a mannequin named Ruttegar who speaks exclusively in static fuzz and random bleeps, yet the host always knows exactly what he's talking about. He's a drug addict, a shameless womanizer and sometimes murderer. And a mannequin. I did mention he's a mannequin, right? Okay. 

The show, which airs uncensored late at night (Fridays at 11pm in San Francisco on SF Commons Channel 29 and Hayward on Chabot TV Channel 28, streaming online at www.bavc.org/sfcommons), occasionally includes brief nudity or sexual situations (99% of which involve crudely produced cartoon animation or the aforementioned mannequin) and mild comedic violence--always for a laugh, never remotely what anyone in their right mind could consider pornographic or in any way harmful to any consenting adult viewer. That said, whenever I've posted a clip from the show on youtube involving anything sexual or with, for example, an exposed butt cheek or (gasp!) a female breast, I've always gone out of my way to cover them with either a censor bar or blur them out. Seemed pretty simple to me; youtube doesn't allow nudity. Got it. No problem. Moving on.

Over the past year but in rapid succession over the past few months especially, I've been randomly receiving notifications saying youtube had flagged a video, adding an '18+ Age Restriction' on it. Their notification reads, in part: "We have reviewed your content and determined that it may not be suitable for viewers under the age of 18, per our Community Guidelines... We haven't applied a strike to your channel [remember this part, it's important]... This means it will not be visible to viewers who are logged out, are under 18 years of age, or have Restricted Mode enabled."

While sometimes I felt the restriction was arguably fair, other times they were objectively wrong, and clearly applied by an AI bot. But, so as not to rock the boat, I just let it go. Never argued with them.

The real downside is these restrictions cause much lower viewership and engagement. I liken it to a shadowban on instagram, they don’t delete the content, but they keep just about anyone who isn’t actively engaged with your page or sent a direct link from seeing it. Even still, I'm a 'pick your battles' kinda guy, and these didn’t seem all that big a deal. After all, youtube's own policy states that a user’s page would only be at risk of termination after receiving 3 strikes for violating their rules, and right there in black and white in my notifications, they said they had not applied any strikes. None. Never once.  

Back to The GLORY HOLE. Production on the upcoming second season of the show began in June of 2021 and wrapped in June of this year. To put it mildly, it was quite an undertaking, as all microbudget productions tend to be. As of the time of this writing, 11 of the 12 new episodes are complete and one just has some minor tweaking to finish up. And it’s a huge step up from the previous season in every imaginable way; the storytelling, performances, music, animation and editing, everything. Safe to say everyone involved is super proud of what we’ve accomplished and can’t wait to share it with our beautiful “fans” and hopefully earn lots of new ones. 

In preparation for launching this new season, I spent much of this past June through mid-July combing through the first season of the show, editing more than thirty 2-3 minute ‘Best Of’ clips to share on youtube to send to the press, podcasts, etc., and to share with loyal fans who may enjoy a refresher before diving into the new material. On July 13th I uploaded the final handful of these bite sized videos, a couple of which were immediately flagged as Age Restricted/18+ (clearly AI-bots doing the flagging, as they hadn’t even finished uploading), but again, nothing out of the ordinary and seemingly no big deal. I repeat, per youtube’s own wording, Age Restricted videos do NOT put your channel at risk of termination.

So when I found the notification that they HAD, in fact, terminated my page in my email the next morning, without warning, claiming I had violated their community guidelines involving nudity, I immediately knew it was not a human who decided this. Why? Because I have never, ever posted anything involving exposed nudity whatsoever on the public youtube page. As I mentioned, I’d spent countless hours over the years animating censor bars to make sure nothing that could be considered nudity ended up on their public platform. Yes, even on the mannequin. I was that ridiculously careful.

After immediately filling out and submitting an appeal (the first of THREE thus far), I reached out on my social media to see if anyone knew someone who worked at youtube that I could be put in contact with. Having heard a bit in the past about how dismissively youtube treats small independent creators, I knew it would be wise to get some help. 

A good friend put me in touch with someone there and I messaged him on one of his socials. 

To his credit, this gentleman spent over a week reaching out to others within the company, attempting to initiate some sort of correspondence with whichever department may be able to assist. It should also be noted that youtube has virtually NO WAY to contact an actual human on their website, which is clearly by design. At one point, he asked for my personal email so he could add me in on an email thread with his manager. Seemed almost promising at this point...

Then a few more days passed. Then the weekend. No email received. I messaged again the following week, asking when I might expect to hear from the manager so we can begin to discuss how to fix this situation. All I wanted was to have a conversation and was totally open to whatever compromises we could agree on, even if that meant deleting some of the videos off the channel.

Then, I suspect prompted by his manager, he asked a very telling couple of questions about my terminated account: 

a) How many subscribers did I have?

and b) Was I a youtube business partner/did I run ads on my videos? 

And right then it clicked. 

What they were really asking was:

-Am I famous or important enough to have a conversation with?

-Do I make them money? 

When I expressed that I had a small but loyal fanbase (couple hundred subscribers at best) and no, I did not run ads on my videos, the manager suddenly didn’t have time to discuss anything with me. Shocking, right? 

Couple more days of radio silence again and finally he wrote back saying he’d heard through the grapevine that my page was terminated for being “too edgy” for their platform, but was given no details beyond that. 

I’m sorry, but how is being “edgy” a violation of youtube’s community guidelines? Forgive me for pointing out their blatant hypocrisy, but a platform that proudly showcases sexually graphic music videos with titles like “Wet Ass Pussy” and SNL skits like “Dick In A Box” (not to mention fully uncensored anal waxing videos, countless videos of police murdering unarmed people of color, brutal street violence, endless bullying, misogyny and bloody war footage, etc, etc, etc.), somehow my COMEDY videos with the sarcastic host and the mannequin sidekick is where they draw the line? Sure thing, youtube.

It’s crystal clear what they meant was they don’t like my material since I don’t generate ad revenue for them. This performative morality horseshit from a platform which literally gave rise to the mainstreaming of the American alt-right, let thousands of unhinged users to spread deadly misinformation during the covid 19 pandemic and continually allows harmful propaganda and racist/sexist/homophobic/transphobic material, is nothing short of laughable.

[Side note: Alex Winter’s brilliant new documentary, The Youtube Effect, is essential viewing for those interested in how little they care about anything beyond raking in BILLIONS off the backs of its creators while fanning the flames of hatred and division. The recurring theme of the film is youtube simply does not care about who they harm. And why would they?]

In the weeks since this all started, I’ve done quite a bit of poking around online and I’ve seen a ton of evidence that my situation is not at all unique. It seems that the past couple of years in particular, youtube has been on a performative witch hunt of sorts, using any excuse to terminate channels that don’t perform for them, financially. Especially those with “edgy” content that may offend the religious right or other groups who organize and complain about whatever doesn’t fit into their puritanical, bigoted view of what constitutes acceptable material. They even took down legendary independent film studio Troma’s page just a few weeks before mine. Below is what they posted on instagram when it first happened:

Key sentence: “We have received a response from the Youtube team, and they have made it quite clear that independent art has no business on their platform.” Troma eventually got their page reinstated but only after weeks of thousands of their fans taking to twitter and an online petition DEMANDING they give it back. Which only highlights that youtube CAN do the right thing, but likely only will when it’s convenient or if too many people are pointing out their fully transparent hypocrisy in a public forum. It's now been a full month since my channel was effectively banned from youtube. I've submitted 3 separate appeals, ZERO of which have garnered anything beyond an automated 'received, thank you for your patience' response. Besides the unofficial correspondence with the employee, the only official interaction I've received from what *could* be an actual human has been on twitter. Seems pretty interesting to me that I've had to go to another platform to actually hear back from anyone. But still, they just say be patient and wait for the decision. 

And upon further inspection of the @TeamYoutube twitter page, their responses all appear to be cut and paste, so it’s most likely AI bots responding there as well. They claim in their automated responses that a decision whether or not to reinstate a suspended/terminated channel “should take 1-2 business days.” Well, it's been four weeks... and counting.

SERIOUSLY, youtube. What the F**K???

If you’d like to support me and my work going forward, please follow:

instagram.com/diabloshea for all the latest updates and happenings

vimeo.com/diabloshea where you can watch some of what youtube unjustly deleted RIGHT NOW!

The GLORY HOLE returns with ALL NEW episodes Fridays at 11pm pacific, starting in September! Watch HERE 

Thanks for reading,

DO

[garvescope]

The Anatomy of a Viral Indie Film Post on TikTok

When an indie film goes viral on TikTok, it usually isn’t because of A-list actors, big-budget effects, or flashy trailers. It’s because the filmmaker or marketing team found a way to distill the emotional core, unique premise, or raw authenticity of the project into a 15–60 second format that hits viewers right in the gut—or funny bone. TikTok doesn’t care how much your film cost. It cares…

[catloud]

a micro-short, coming soon

[directorsnarrative]

Eek! My crowdfunding campaign for my short film is here!!!

[annoyingthemesong]

SUBLIME CINEMA #294 - BUZZARD

I was weirdly impressed with this tiny anarchic film - it doesn’t really seem to care about its own quality, and has a film-school level production value, yet there came across a transgressive, don’t-give-a fuck attitude about that I really dug. It felt like it was holding the torch for some kind of past, dark indie US cinema. Joshua Burge is an interesting actor, and his role is kinda hilarious - a grotesque, scheming garbage face I couldn’t take my eyes off of.  

Good example of what some fun writing and creative spark can do for an otherwise microbudget movie.

[mobilewavestudios]

The Cockups Movie Production pictures