IFH 839: The Rodriguez List: How to Make Movies with What You Already Have with Aaron Kaufman & Brian Levin

by

On today’s episode, we dive deep into what it really takes to make movies in today’s independent film landscape with Aaron Kaufman and Brian Levin—two filmmakers who understand both the creative and business realities of modern cinema. Their conversation cuts through fantasy and wishful thinking, offering a grounded look at how careers are actually built through action, momentum, and persistence.

At the center of the discussion is the idea often referred to as the “Rodriguez List,” inspired by Robert Rodriguez’s early filmmaking philosophy. The concept is simple but powerful: instead of writing the movie you wish you could make, write the movie you can make right now. That means taking inventory of what you already have—locations, props, relationships, and collaborators—and building a story around those assets. According to Aaron, this approach doesn’t limit creativity; it focuses it. Constraints force better storytelling and smarter production decisions.

Brian’s own career reflects this philosophy. He began by creating an online comedy show in the early days of internet video, long before YouTube became a mainstream launching pad. By consistently producing content and putting it into the world, he and his collaborators were eventually discovered by an online network connected to Adult Swim. The key wasn’t perfection—it was volume, consistency, and willingness to create publicly.

Aaron brings a complementary perspective from the producer’s side, shaped by years working with Robert Rodriguez on projects like Sin City 2 and Machete Kills. One of the biggest lessons he learned was that confidence comes from repetition. Rodriguez didn’t wait years between projects—he was constantly producing, learning, and refining his craft. That same mindset, Aaron argues, applies to today’s filmmakers releasing work online. The more you create, the faster you improve, and the more clearly your voice emerges.

The conversation also tackles a hard truth about first-time filmmakers: investors are rarely excited by inexperience. Being a first-time director or producer is always a risk, no matter how long you’ve worked in the industry. That’s why momentum matters. Having a project already moving—cast attached, a start date planned, or even proof-of-concept material—changes the conversation entirely. A script is an idea. A movie in motion is leverage.

When discussing their film Flock of Dudes, Aaron and Brian explain how the project evolved through years of development, rewrites, and studio conversations before finally being made independently. Despite the challenges of producing a comedy outside the traditional studio system, they focused on protecting the emotional core of the story: real friendships, real conflicts, and relatable growth beneath the jokes. That foundation helped the film stand out in a crowded marketplace.

Both filmmakers emphasize that the modern industry no longer rewards waiting. Festivals are crowded, theatrical releases are limited, and audience behavior has changed. Today, filmmakers must think beyond just making a movie—they must think about why it exists now, who it’s for, and how it will reach them. Whether that means YouTube, VOD, or streaming platforms, the goal is connection, not validation.

Ultimately, Aaron Kaufman and Brian Levin remind us that filmmaking is not about permission—it’s about momentum. Careers are built by creating, releasing, learning, and repeating the process. If you wait for perfect conditions, you’ll never start. If you start with what you have, you might just surprise yourself with how far you can go.

Right-click here to download the MP3

Read more

IFH 838: Finding a New Creative Path in Indie Film with Charmane Star

by

On today’s episode, we sit down with Charmane Star, an actress whose career path proves that the film industry rarely moves in straight lines. Known to many audiences for her role in Black Dynamite, Charmane’s journey into mainstream and independent film came unexpectedly—but once she stepped onto a traditional movie set, she discovered a creative world she instantly fell in love with. What began as a small role turned into a Sundance Film Festival premiere, a Sony Pictures acquisition, and a doorway into indie filmmaking that reshaped her career.

Charmane explains that when she was first cast in Black Dynamite, she didn’t think much of it. Having already worked on mainstream productions for HBO and Cinemax, the set itself didn’t feel foreign—just bigger. What surprised her was the scale of collaboration and the warmth of the cast and crew, led by Michael Jai White. A year after filming, she received a call that would change everything: the movie had been accepted into Sundance. Watching herself on the big screen for the first time, surrounded by an audience, was both surreal and electric. The film’s success introduced her to the power of independent cinema and the global life a movie can take on after release.

As Charmane continued working, she became fascinated by how films are received differently around the world. She recalls attending international screenings where Black Dynamite played to packed theaters—but the humor didn’t always translate. In France, for example, jokes that brought down the house in the U.S. landed in near silence. Instead of discouraging her, the experience opened her eyes to cultural nuance and the importance of universal storytelling when working in indie film.

Her next major chapter came with Face of Evil, a horror project that pushed her far outside her comfort zone. Unlike her earlier roles, this film required heavy zombie makeup, night shoots, and physical performances that emphasized movement, sound, and transformation rather than glamour. Charmane embraced the challenge, learning how to strip away instinctive performance habits and replace them with raw, physical acting. Long nights, eerie locations, and moments of accidentally scaring herself in mirrors became part of the experience—and part of the joy.

Later, she joined the cast of Catch 22, an indie thriller that required emotional depth and patience. After auditioning on tape, she landed the role—but production wouldn’t begin for nearly two years. During that time, she helped promote the project, stayed connected with the creative team, and remained committed. When filming finally began in New York, she faced one of her most intense roles yet, portraying a troubled character caught in a web of violence and addiction. The production demanded vulnerability, trust, and emotional resilience—balanced with small personal rituals, like post-scene donuts, to reset between takes.

Now living in France, Charmane reflects on a career built through openness to opportunity rather than rigid planning. She speaks candidly about typecasting, the realities of auditioning, and the importance of personal happiness alongside professional ambition. While focusing on family life, she remains open to future projects—especially in Europe—where international filmmaking continues to evolve.

Ultimately, Charmane Star’s story is one of reinvention, curiosity, and creative courage. From a surprise Sundance breakout to indie horror and thrillers, she reminds us that careers grow when artists say yes to unfamiliar challenges and trust the process—even when the path ahead is uncertain.

Right-click here to download the MP3

Read more

IFH 837: How Filmmakers Can Win in the Digital Marketing Age with David Feinman

by

On today’s episode, we explore the intersection of storytelling, entrepreneurship, and modern marketing with David Feinman, founder of Viral Idea Marketing and co-creator of the wildly successful Zombie Run. David’s journey is a powerful reminder that creativity doesn’t live in a vacuum—it thrives when paired with strategy, execution, and a deep understanding of human behavior. From launching viral experiential events to helping companies cut through digital noise, his career shows how filmmakers and creatives can build real businesses by mastering narrative in the online world.

David’s entrepreneurial instincts surfaced early. While still a teenager, he started his first business, eventually leading to Zombie Run—an immersive, zombie-themed obstacle race that toured over a dozen cities and attracted more than 35,000 participants in a single year. Rather than treating the event like a simple race, David approached it like a film production. The course was designed as a living movie set, complete with fog machines, helicopters, suspenseful pacing, and carefully timed reveals. Zombies didn’t appear immediately—just like in great cinema, tension was built before the chaos began.

That cinematic mindset became the foundation of his marketing philosophy. David understood that people don’t share advertisements—they share experiences. Zombie Run succeeded not because of traditional advertising, but because it gave participants something worth talking about. Each event produced shareable video content that spread organically across social platforms, long before Facebook video advertising became mainstream. Looking back, David admits that if he were launching today, he’d double down even harder on short-form social video, because attention is the true currency of the internet.

After Zombie Run, David founded Viral Idea Marketing, a company focused on helping brands tell stories that are designed to be shared. He challenges the outdated idea of the “commercial,” arguing that modern audiences want narratives, not pitches. Instead of 30-second ads, his team creates short films for the internet—content that follows the same emotional structure as movies and television. Whether working with Fortune 1000 companies or local businesses, the goal remains the same: create something people want to pass along.

One of David’s most important insights is his definition of “viral.” To him, viral doesn’t mean millions of views—it starts with one share. If a video is designed so that even 20 or 30 people feel compelled to share it, that’s a win. That mindset removes the pressure of chasing massive numbers and refocuses creators on quality, relatability, and emotional resonance. It’s a lesson filmmakers can apply directly to trailers, short films, and branded content alike.

David also speaks candidly about professionalism and attention to detail. In hiring creatives, he prioritizes cultural fit and preparedness as much as talent. Sending a reel when asked, doing basic research before meetings, and respecting the creative process are non-negotiables. The same principles apply to clients—those who understand that storytelling takes time and intention ultimately see better results.

At its core, David Feinman’s journey is about reframing how creatives think about opportunity. Filmmakers don’t have to choose between art and business. By applying cinematic storytelling to marketing, they can build sustainable careers while still doing creative work that matters. In a world overflowing with content, the stories that win are the ones crafted with purpose, empathy, and shareability in mind.

Right-click here to download the MP3

Read more

IFH 836: The New Rules of Indie Filmmaking No One Is Teaching with the Jalbert Brothers

by

On today’s episode, we sit down with the Jalbert Brothers, two filmmakers who embody what modern independent cinema truly looks like. Their story isn’t about massive budgets, studio deals, or film school prestige — it’s about relentless execution, skill-building, and using whatever tools are available to tell stories. By embracing low-budget filmmaking and treating every project as both a creative experiment and a marketing opportunity, the Jalbert Brothers have built a sustainable path forward in an industry that often rewards those who simply refuse to wait for permission.

Their journey began where many filmmakers start — making videos for fun, learning through trial and error, and slowly developing a voice. Instead of chasing investors or waiting for grants, they focused on producing short films and features for as little as $1,000. That limitation wasn’t a setback; it was the strategy. By working with minimal gear, tight locations, and small crews, they were able to sharpen their storytelling instincts and technical skills at a rapid pace. Each project became a hands-on education in directing, editing, sound, and pacing.

What sets the Jalbert Brothers apart is their understanding that filmmaking today isn’t just about making a movie — it’s about building momentum. They approach every project with distribution and audience in mind from day one. Social media platforms, online releases, and digital marketing are not afterthoughts; they are baked into the creative process. By consistently releasing content, they trained their audience to expect new work while simultaneously improving their craft with each film.

They also challenge the traditional belief that bigger budgets equal better films. In their experience, skill and discipline matter far more than money. A $1,000 film forces you to solve problems creatively, prioritize story, and eliminate excess. Those constraints lead to clarity — and clarity leads to better filmmaking. Rather than being overwhelmed by options, they make decisive creative choices and move forward quickly, which allows them to grow faster than filmmakers stuck in endless development.

Another key lesson from the Jalbert Brothers is the importance of repetition. They don’t believe in waiting years between projects. Instead, they advocate for consistent output — making films back-to-back and learning from real-world feedback rather than theoretical advice. Each release teaches them something new about storytelling, audience behavior, and marketing. That feedback loop becomes invaluable, especially in an industry that constantly evolves.

The brothers also emphasize collaboration and adaptability. Working closely together has allowed them to divide responsibilities, support each other creatively, and maintain momentum even when challenges arise. Their partnership proves that filmmaking doesn’t have to be a solitary struggle — it can be a shared pursuit built on trust, communication, and a unified vision.

Ultimately, the Jalbert Brothers represent a new generation of filmmakers who understand that the barriers to entry have shifted. Technology is accessible, distribution is democratized, and audiences are everywhere — but only if you’re willing to do the work. Their story is proof that filmmaking success today comes from action, not approval. By embracing limitations, staying consistent, and treating every project as both art and opportunity, they’ve created a roadmap for filmmakers who are tired of waiting and ready to start.

Right-click here to download the MP3

Read more

IFH 835: What Really Happens After You Write the Script with Michael K. Snyder

by

On today’s episode, we dive deep into the long game of screenwriting and career-building with Michael K. Snyder, a writer and producer whose journey is a masterclass in patience, preparation, and persistence. Michael’s story isn’t about overnight success or viral moments—it’s about understanding how the industry actually works and learning how to navigate it without losing your creative voice. From film school to studio meetings, his path reveals what happens after the script is written, when development, relationships, and timing become everything.

Michael began his career at Full Sail University, later earning a master’s degree before making the leap to Los Angeles. Unlike many aspiring writers, he didn’t move west blindly. He arrived with a plan, a growing network, and a willingness to work his way up. One of his earliest breakthroughs came from reaching out directly to Lloyd Kaufman of Troma—an act that taught him a crucial lesson early on: opportunities are rarely handed out, but they often appear when you’re willing to ask professionally and follow through. That mindset became the foundation of his career.

Once in Los Angeles, Michael balanced day jobs with constant writing, producing short films whenever possible. Access to a massive warehouse space allowed him and fellow filmmakers to shoot projects on their own terms, building real credits instead of waiting for permission. During this time, he continued developing feature scripts and pilots, understanding that every script serves a purpose—even if it never gets made. Some are calling cards. Others are doors to conversations that lead somewhere unexpected.

That philosophy paid off when a script he shared online attracted a manager’s attention. While the majority of feedback was harsh and dismissive, one email changed everything. Instead of focusing on the negativity, Michael leaned into the opportunity, turning that script into a relationship that opened doors across town. Meetings followed—not because the script was guaranteed to sell, but because it demonstrated voice, ambition, and storytelling instinct. In Hollywood, that’s often enough to get you in the room.

Michael’s experience highlights a critical truth about development: selling a script is rarely the goal. Selling yourself as a writer who understands story, character, and collaboration is what matters most. He explains how development can stretch for months or even years, involving outlines, treatments, rewrites, and constant conversations with producers. It’s not glamorous, and it’s rarely fast—but it’s where careers are built.

One of the most fascinating parts of Michael’s journey is his work adapting existing material. From pitching large-scale biographical projects to developing treatments for iconic properties, he learned how executives evaluate writers not just on originality, but on how they handle legacy, tone, and character. Adaptation, he explains, is about honoring the heart of a story while making it relevant for a modern audience—a skill that has become increasingly valuable in today’s IP-driven marketplace.

At its core, Michael K. Snyder’s story is about loving the process. He emphasizes that if you don’t enjoy development, collaboration, and long stretches of uncertainty, this industry will wear you down. But if you can learn to embrace the grind—rewriting, networking, pitching, and waiting—you give yourself a real chance to succeed. His journey is proof that careers aren’t built on single moments, but on years of showing up, doing the work, and staying ready when opportunity finally knocks.

Right-click here to download the MP3

Read more

IFH 834: How to Build a Screenwriting Career That Actually Lasts with Bob Saenz

by

On today’s episode, we welcome Bob Saenz, a working screenwriter and actor whose career quietly dismantles many of the myths surrounding Hollywood success. Bob has written big-budget studio projects, indie features, and multiple Hallmark movies, while also building a long acting career that includes Zodiac, Nash Bridges, and voice work as the iconic villain in the Syphon Filter video game series. What makes Bob’s journey compelling isn’t flash—it’s longevity, adaptability, and a deep respect for story.

Bob’s career began as an actor in the San Francisco Bay Area, where he spent years performing in theater before making a conscious decision to balance family life with creative ambition. Rather than chasing the traditional Los Angeles path, he built his career largely outside of LA, commuting when needed and proving that proximity matters far less than preparation. His years on Nash Bridges became what he calls “the Don Johnson film school,” where he absorbed everything he could about directing, cinematography, sound, and production by simply asking to learn.

That on-set education shaped Bob’s writing philosophy. He believes that the only thing that truly matters in a screenplay—especially a spec—is story. Not structure formulas. Not screenwriting “rules.” Story. He openly admits he’s never read a screenwriting book, instead learning by reading produced scripts, watching films, and studying what doesn’t work as much as what does. In his words, many scripts fail because writers force stories into rigid templates instead of letting the narrative breathe naturally.

One of Bob’s most defining moments came early in his writing career, when the first script he ever wrote was optioned by a studio. The sudden validation inflated his ego—something he now looks back on as a painful but necessary lesson. When the project ultimately fell apart, he gained perspective: most optioned scripts never get made, and success in Hollywood is rarely fast or permanent. That experience reshaped how he approached relationships, collaboration, and professionalism.

Bob’s willingness to break conventional rules eventually became his calling card. His script Extracurricular Activity intentionally defied standard storytelling expectations—the inciting incident occurs long before the movie begins, the protagonist isn’t clearly defined, and traditional character arcs are ignored. Instead of hurting him, that boldness got him noticed. The script later became a produced feature nearly two decades after it was written, proving that originality often has a longer shelf life than trend-chasing.

In addition to studio and indie work, Bob has carved out a successful niche writing Hallmark films. He explains that while the brand has clear guidelines, there’s still room for strong character work and emotional storytelling if you understand the sandbox you’re playing in. Hallmark didn’t limit his creativity—it rewarded his ability to tell compelling stories within defined boundaries, a skill many writers overlook.

Perhaps Bob’s most valuable insight is his perspective on networking. He rejects the idea of transactional relationships, emphasizing that real careers are built through genuine human connection. Networking, he says, isn’t about asking what someone can do for you—it’s about building trust over time. His career, sustained across decades, genres, and mediums, stands as proof that being easy to work with is just as important as being talented.

In the end, Bob Saenz represents the kind of career many writers aspire to but rarely hear about—one built not on hype, but on consistency, curiosity, and respect for the craft.

Right-click here to download the MP3

Read more

IFH 833: Making Movies Without Sight: Inside the Creative Mind of Gough

by

Every once in a while, a filmmaker comes along whose story redefines what’s possible. On today’s episode, we meet Gough, the world’s first legally blind filmmaker to write, produce, edit, direct, and star in a feature film. Based in Australia, Gough’s journey isn’t just about overcoming obstacles—it’s about rewriting the rules of what it means to create. Through his production company, Beer Nuts Productions, he’s built a thriving career in comedy filmmaking, releasing over a dozen films, multiple books, and audio projects, all while turning disbelief into admiration.

Gough’s career began with rejection. After writing countless screenplays and sending them to production companies, distributors, and investors, he quickly realized that most people couldn’t see beyond his disability. “They knew I was blind and dismissed me out of hand,” he recalls. Instead of giving up, Gough did the unthinkable—he decided to make his own films from scratch. His first feature-length project, I Will Not Go Quietly, was a 90-minute documentary on disability and mental health. He shot, edited, and funded the entire film himself, interviewing experts, comedians, and teachers to shed light on how society perceives disability. It wasn’t just a film—it was a declaration of independence and proof that storytelling is about vision, not sight.

From there, Gough built momentum, producing a string of comedic short films that showcase his wit and unique storytelling style. Each project became a stepping stone for the next. Beer Nuts Productions evolved into a full-fledged creative hub, featuring 14 films, 7 audio downloads, and 5 books. His films—ranging from mockumentaries on the environment and fitness to satirical takes on the entertainment industry—reflect both his humor and sharp social commentary. “I just want to make people laugh and think,” he says. “Entertainment is about making people happy. That’s why I do what I do.”

Gough’s success didn’t come without challenges. As an independent creator, he faced the dual battles of production and promotion. While technology made filmmaking more accessible, marketing became the new battlefield. To stand out in a crowded digital landscape, he built a marketing team and launched campaigns across Facebook, Instagram, and traditional media outlets. His approach combines modern outreach with old-school persistence—podcast interviews, press releases, and direct audience engagement. “It’s never been easier to make a film,” Gough says, “but it’s never been harder to get it seen.”

What makes his work even more remarkable is his hands-on directing style. Despite his visual limitations, Gough has developed an intuitive approach to editing and performance. He directs actors by focusing on vocal tone, rhythm, and emotion rather than facial expressions. “I can tell by the sound if the performance is right,” he explains. With a trusted crew who understands his creative process, including his longtime editor Simon, he ensures that every cut, cue, and line lands perfectly. The result? Films that are not only technically solid but emotionally precise and deeply entertaining.

Beyond filmmaking, Gough is a storyteller, a humorist, and a living example of creative determination. He believes that ignorance about disability can be cured through education and empathy—and his films do exactly that. Whether he’s producing mockumentaries about modern life or stand-up-inspired sketches, his work carries the same message: limitations only exist if you let them.

From his first documentary to his recent comedy The Environment: The Real Truth, Gough continues to prove that filmmaking is an act of courage and imagination. His story is not one of pity or perseverance—it’s one of power, laughter, and possibility.

Right-click here to download the MP3

Read more

IFH 832: The Filmmaker Who Refused to Tap Out: The Making of Heel Kick! with Danny Mac

by

On this episode, we sit down with Danny Mac, a Canadian filmmaker, actor, and producer whose story is a masterclass in indie filmmaking grit. Best known for his mockumentary Heel Kick!, Danny proves that passion and persistence can turn any dream—no matter how outlandish—into cinematic reality. Without the luxury of film school or industry connections, Danny started his filmmaking journey in Edmonton, Alberta, a city without much of a film scene. With determination as his tuition, he taught himself the craft by writing, producing, and shooting his first feature, Love/Hate, entirely on weekends while working full-time during the week. That film, made with a mere $40,000 budget scraped from his and his co-producer’s life savings, became his film school—and, against all odds, it sold to a Canadian broadcaster, allowing him to break even on his very first project.

Danny’s path wasn’t without struggle. As a first-time filmmaker, he wore every hat imaginable—writer, producer, actor, and sometimes even location scout and transporter. The grueling process taught him one thing: passion can push you through exhaustion, but preparation and teamwork are what truly make a film succeed. His next project, Heel Kick!, would be an evolution of everything he learned—bigger in ambition, sharper in execution, but still rooted in the DIY spirit of indie film.

Heel Kick! follows two backyard wrestlers who decide to “go pro” after years of goofing off, only to discover how brutally difficult the dream really is. Inspired by Danny’s childhood fascination with wrestling and his cousin’s real-life experiences at a wrestling academy, the film explores both the absurdity and humanity of chasing an impossible goal. What makes the story shine is its authenticity—Danny and his co-star actually trained at a professional wrestling school for six months to perform the stunts themselves. This dedication gives Heel Kick! a raw, physical realism rarely seen in low-budget comedies.

When it came to funding and promotion, Danny combined old-school hustle with modern strategy. He launched a short GoFundMe campaign—not to start filming, but to finish it. Since the movie was already complete, fans could trust that their donations were going toward its release and screenings. That transparency paid off—literally. In just three weeks, he raised $12,000 to cover post-production and distribution costs. And while many filmmakers dread crowdfunding, Danny approached it with honesty and gratitude, proving that if you show people real progress, they’ll show you real support.

Danny also secured the backing of Greg Miller, a YouTube and gaming personality known for his Kinda Funny network. Their friendship began after a charity event in Vancouver and evolved into a partnership when Greg joined as co-producer to help spread the word. His involvement brought Heel Kick! a new wave of attention, particularly from online audiences passionate about wrestling and indie entertainment.

Ultimately, Danny Mac’s story is about more than filmmaking—it’s about perseverance, community, and creative resourcefulness. His success with Heel Kick! reminds filmmakers everywhere that you don’t need a massive budget or a Hollywood connection to tell a great story. You just need to believe in your vision, work harder than anyone else, and embrace every lesson along the way. Whether you’re wrestling in a ring or fighting for your first film, the key to victory is the same: never tap out.

Right-click here to download the MP3

Read more

IFH 831: Making Independent Films Without Hollywood or a Huge Budget with David Ash

by

On today’s episode, we welcome David Ash, a filmmaker who proves that creativity and responsibility can coexist. Based in the Twin Cities, Ash has built a life that blends a demanding corporate career, a family of four, and a thriving passion for storytelling through film. With a background in business administration and a full-time job as a treasury director, he is the definition of a weekend warrior — someone who squeezes every possible moment out of his schedule to write, direct, and produce movies. His journey shows that you don’t need to quit your job, move to Hollywood, or have a massive budget to make great films. What you need, according to Ash, is commitment, consistency, and the willingness to learn by doing.

David’s filmmaking journey began not in a studio, but in a contest. After entering a screenwriting competition that brought him to Los Angeles, he realized that while Hollywood admired talent, it rarely offered open doors to outsiders. Instead of waiting for someone to hand him an opportunity, he decided to make his own. He immersed himself in local workshops, learned camera techniques, studied editing, and began working on short films. His first feature-length experiment, Love: A Documentary, was a mockumentary produced for just $800 — a testament to what can be accomplished when creativity is prioritized over resources. That project, humble as it was, gave him the confidence and hands-on experience to take the next step toward more ambitious films.

As his storytelling evolved, Ash developed a style that combined emotional realism with psychological depth. His most acclaimed work, Twin Cities, explores themes of identity, mortality, and redemption through a lens of everyday realism. The film was a turning point — both artistically and personally — showing how powerful stories can emerge from seemingly ordinary lives. With no studio backing, he handled nearly every aspect of production himself, from writing and directing to navigating the complex logistics of filming around work and family obligations. His process may not have been glamorous, but it was deeply fulfilling. For David, filmmaking is less about chasing fame and more about personal expression — an act of discovery that connects his inner world with the outside one.

One of the most inspiring aspects of David’s journey is his practical approach to the creative process. He emphasizes planning and structure but always leaves room for experimentation and intuition. He doesn’t believe in waiting for perfect conditions — because they never come. “If you wait for the right time to make a movie,” he says, “you’ll never make it.” That philosophy has not only driven his filmmaking but also influenced his outlook on life. By treating creativity as a discipline rather than a luxury, he’s managed to produce meaningful work while maintaining balance in his career and home life.

Beyond his own films, David encourages other aspiring filmmakers to start wherever they are. He often mentors local creators and reminds them that filmmaking is more accessible than ever. Affordable digital cameras, editing software, and online resources have eliminated many of the old barriers to entry. What remains, he insists, is the challenge of motivation — the courage to take the first step. His own story is living proof that passion and persistence can turn the impossible into reality.

David Ash represents the new wave of independent filmmakers: grounded, determined, and driven by purpose rather than prestige. His career is a masterclass in making art on your own terms — carving out time, embracing constraints, and never losing sight of the joy of creation. In an industry obsessed with overnight success, he stands as a reminder that the most meaningful journeys are built one weekend at a time.

Right-click here to download the MP3

Read more

IFH 830: How Two Filmmakers Captured the Ultimate Rocky Fan Story with Jim Toscano & Danny Gianino

by

Every great documentary begins with passion — and for Jim Toscano and Danny Gianino, that passion came in the form of an underdog story worthy of the big screen. The Detroit-based filmmakers, who had spent years working on automotive and corporate projects, found their creative spark reignited through The Pretender, a documentary about Mike Kunda, the world’s number one Rocky fan. The film explores how Rocky became more than just a movie for Mike — it became a way of life. Blurring the line between man and myth, the filmmakers set out to uncover where Mike ends and Rocky begins, capturing a story of obsession, identity, and the power of cinema to shape who we are.

When Toscano first met Kunda on the set of Rocky Balboa in Philadelphia, he was immediately struck by the uncanny resemblance — Mike not only looked like Sylvester Stallone’s iconic boxer but spoke and moved like him too. What began as an idea for a short profile piece quickly evolved into a feature-length documentary once Toscano and Gianino realized how deep Kunda’s devotion ran. From his childhood in Philadelphia to his current work as a professional Rocky impersonator, Mike’s life mirrored the determination and heart of his hero. Yet, as filming continued, the story became more complex — a portrait of a man living in the shadow of his greatest inspiration, trying to balance fandom with his own identity.

Making The Pretender wasn’t without its challenges. Toscano and Gianino faced the unpredictability of vérité filmmaking — never knowing what surprises would unfold as they followed Mike through his daily life, from visiting his parents to sending a heartfelt package to Stallone himself. Some days felt spontaneous and electric, while others required patience and delicate handling, especially when Mike would slip into what they jokingly called “TV host mode.” The filmmakers made it a rule to avoid anything that felt staged, ensuring the final cut remained raw and authentic. Their respect for Mike’s story is evident in every frame, as they treat what could have been a quirky premise with sincerity and depth.

For the Detroit duo, The Pretender was also a personal turning point. It gave them the freedom to break from corporate constraints and create something purely from passion. Unlike client work, there was no approval process, no brand message to hit — just storytelling in its purest form. The experience taught them to trust their instincts, stay flexible, and embrace uncertainty, lessons that carried into their later projects. It was also a reminder that compelling stories aren’t always found in glamorous places — sometimes, they’re found in the dedication of an ordinary man chasing an extraordinary dream.

Ultimately, The Pretender is about more than fandom; it’s about the universal desire to become the best version of ourselves. Just like Rocky, Mike Kunda fights for something bigger — not a championship belt, but purpose, belonging, and the courage to live with heart. Toscano and Gianino’s film captures that spirit beautifully, proving that you don’t need Hollywood budgets to tell a powerful human story — only authenticity and love for the craft.

Right-click here to download the MP3

Read more