Film Production

IFH 841: What a Real Film Producer Actually Does with Marc Bienstock

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On today’s episode, we’re joined by Marc Bienstock, a veteran film producer whose career offers a rare, ground-level view of how movies actually get made. With credits that include The Visit, Split, See No Evil 2, and 12 Rounds 2: Reloaded, Marc has spent decades navigating the realities of studio and independent filmmaking. His story is not about shortcuts or hype — it’s about preparation, collaboration, and solving problems when the pressure is on.

Marc’s path into producing wasn’t linear. While studying at NYU’s School of the Arts, he explored both directing and producing, even directing a music video funded by RCA Records and producing a student film backed by HBO. After film school, he initially pursued directing, completing multiple features. But it wasn’t until the mid-to-late 1990s, after being offered the opportunity to run production at an independent company, that he realized his true strength was producing — supporting directors in ways he himself wished he’d been supported earlier in his career.

That perspective shaped Marc’s entire philosophy. For him, producing is about service: transparent communication, preparation, and building a team that supports the director’s vision. He explains that real producing happens long before cameras roll. Pre-production is where trust is built, expectations are aligned, and creative goals are translated into budgets, schedules, and logistics. Once production starts, things move too fast to solve foundational issues — which is why preparation is everything.

Marc also stresses the importance of assembling the right team. Skill matters, but attitude matters just as much. A single negative presence on set can derail morale, while a collaborative crew can elevate a project beyond its limitations. His now-famous philosophy that “everyone gets one mistake” reflects a realistic understanding of filmmaking: productions are intense, mistakes are inevitable, and a producer’s job is to anticipate problems and find solutions — not assign blame.

As his career progressed, Marc shifted away from script development and focused more on execution. Studios and production companies now bring him projects that are already well underway, relying on his expertise to determine where and how a film should be made. This includes navigating tax incentives, which Marc describes as essential to modern film financing. Shooting in incentive-friendly states can reduce a film’s effective budget by millions, lowering investor risk and making projects financially viable.

His collaboration with M. Night Shyamalan on The Visit marked a major milestone. The partnership came together through mutual contacts, and the success of that film led directly to Split. Marc recalls reading both scripts and being struck by Shyamalan’s mastery of character and voice — an ability to convincingly write across ages, personalities, and psychological states. For Marc, great scripts don’t just have strong concepts; they take audiences on a journey with characters they believe in.

Teaching has also become an important part of Marc’s career. While working on Split, he taught a production class at Drexel University, walking students through the entire lifecycle of a real film — from securing IP to budgeting, staffing, scheduling, and post-production. His goal wasn’t to glamorize the industry, but to prepare the next generation with honest, practical knowledge.

Ultimately, Marc Bienstock represents the kind of producer filmmakers hope to find — one who understands both the creative and business sides of filmmaking, values collaboration, and knows that movies are made by people, not just budgets. His career is proof that success in film comes from consistency, humility, and doing the work when it matters most.

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

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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.

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

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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.

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

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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.

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

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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.

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IFH 827: Turning a Script into a Movie: The Indie Filmmaking Story of Jamie Buckner

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Every filmmaker has that moment when the light turns on — when they realize storytelling is the one thing they simply must do. For Jamie Buckner, that revelation came after dabbling in nearly every creative field imaginable — art, music, architecture — before realizing film combined all of them into one powerful form. From there, he immersed himself in cinema, devouring screenwriting and production books, and hustling his way onto sets like Seabiscuit and The Departed. He worked his way from production assistant to production coordinator on John Wick: Chapter Two, all while nurturing his dream project — a romantic bowling comedy called Split.

What makes Jamie’s story stand out isn’t just his impressive resume but his relentless commitment to writing and creating despite the chaos of production life. Between long hours on major film sets, he carved out time to develop Split — a movie he describes as “a bowling rom-com that just makes people smile.” Over several years, he wrote, revised, and self-financed his film, turning a short proof-of-concept into a full feature distributed across dozens of streaming platforms. His journey offers an unfiltered look into indie filmmaking: making time to write, raising funds through Kickstarter, calling in favors, and managing endless post-production delays.

Jamie Buckner also offers valuable insight for aspiring screenwriters: creativity is a muscle that must be exercised constantly, even when you’re exhausted. He credits years of reading production scripts — including works by Cameron Crowe — for refining his sense of structure, tone, and pacing. His advice is refreshingly grounded: “If you can do anything else, do it — because this industry takes everything you have. But if you can’t not make films, then you’re one of us.”

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IFH 825: The Untold Stories of Women in Action Cinema with Melanie Wise

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Sometimes the film industry opens doors, and sometimes you have to build the door yourself. On today’s episode, we welcome Melanie Wise, an actress, producer, and founder of the Artemis Women in Action Film Festival. Standing six feet tall, Melanie discovered early that Hollywood wasn’t built for women who didn’t fit its narrow mold. Struggling to land traditional roles and tired of being typecast, she turned to producing her own projects, determined to tell stories where women weren’t victims but warriors.

Her breakthrough came with Hannah’s Gift, a horror-action film she produced and starred in, which won multiple festival awards. But the road wasn’t easy. Technical setbacks destroyed the original masters, forcing her team to reshoot the film entirely. Instead of breaking her, the challenge sharpened her skills as both a producer and post-production powerhouse. She carried those lessons into her larger mission: creating a platform where strong female leads could thrive without compromise.

That vision led to the launch of the Artemis Women in Action Film Festival, a global event dedicated to celebrating badass women on screen and in real life. From honoring icons like Zoë Bell, Nichelle Nichols, and Paul Feig, to spotlighting stuntwomen who risk it all for unforgettable scenes, the festival has become a beacon for action storytelling with women at the center. As Melanie put it, the festival proves there’s a massive audience hungry for female-driven action, and the worldwide submissions—from places as unexpected as Iran—show that this movement is not limited by borders.

Beyond screenings, Artemis has uncovered hidden histories of women in sports, the military, and aviation, stories too often left untold. Panels have featured pioneers like WWII’s WASP pilots, reminding audiences that women have always been forces of action both on and off screen. With fans crowdfunding the festival year after year, Melanie sees undeniable proof that people want to see empowered women in leading roles — and are willing to back it with their wallets.

For Melanie, the work is both personal and universal. She knows firsthand the obstacles women face in Hollywood, but she also knows the thrill of defying them by creating your own path. With Artemis, she’s not just producing a festival; she’s building a movement that challenges outdated industry narratives and showcases the limitless potential of women in film.

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IFH 818: From Setbacks to Festival Wins: The Filmmaking Path of Dawn Fields

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The magic of cinema often begins in the unlikeliest of places. For Dawn Fields, it all started when she signed up as an extra on the film Love Potion No. 9. What was supposed to be a day in front of the camera became a lifelong passion for the world behind it. Watching the crew work, she realized her true calling wasn’t to act, but to create. That spark ignited a journey that would carry her from the film sets of Atlanta to the heart of Los Angeles, where she would build a career as a producer, writer, and director—one forged not by ease, but by relentless perseverance.

Dawn cut her teeth in the early 1990s, working on big productions in Georgia as Hollywood expanded into the South. She worked her way up as a production assistant, grinding through long hours and tough assignments until she eventually landed opportunities with major companies like Lucasfilm, Fox, and NBC. But even with those early credits, she quickly learned that the film industry is as unforgiving as it is intoxicating. Seeking greater opportunity, she packed her life into a U-Haul and drove across the country to Los Angeles with nothing guaranteed. That leap of faith marked the beginning of a new chapter—one filled with both remarkable experiences and the kind of hard lessons every filmmaker eventually faces.

Her early years in Los Angeles brought valuable experience in acquisitions and distribution, where she scouted films at festivals and courted agents. But the allure of production kept pulling her back. Founding her company, Palm Street Films, she launched projects that taught her the intricacies of independent filmmaking, from raising money to navigating the demands of pre-production. Her first big crowdfunding effort, Zombie Elves, became a crash course in audience engagement and marketing. The idea—a zombie outbreak at the North Pole—generated excitement, but Dawn soon realized that a strong fan base is essential long before a campaign launches. The project may not have hit its funding goals, but it gave her the foundation to succeed later.

The pivotal turning point came with Shattered Love, a powerful short script she developed from a contest. What began with enthusiasm spiraled into a nightmare of budget overruns, director clashes, and ultimately a shutdown mid-shoot. The experience was crushing. As Dawn recalls, “I was heartbroken. It was the most devastating thing that’s ever happened to me, and for a moment, I thought about walking away from the industry.” But instead of leaving, she doubled down. Recognizing that she lacked directing experience to fully protect her vision, she made the bold decision to step into the director’s chair herself.

Her determination led to 209, a hotel-room drama that she later expanded into Found. That film not only premiered at festivals but won awards, including Best Director. Suddenly, Dawn had the redemption she was looking for. She had proven to herself—and to the industry—that she could take a project from concept to recognition. This confidence opened the door to even more ambitious work, including Fragile Storm, a short starring veteran actor Lance Henriksen. Securing a name talent was a challenge, but it elevated the project’s profile and showed her that persistence in negotiation and preparation can yield remarkable opportunities.

Through each project, Dawn has built a body of work that reflects both her resilience and her growing voice as a filmmaker. She openly shares the lessons she’s learned along the way—like how physical perks in crowdfunding can eat up budgets, or how vital it is to know exactly what kind of film you’re making before cameras roll. She’s also passed her knowledge on through seminars and script contests, helping other filmmakers navigate the same hurdles she once faced.

The picture that emerges from her journey is not one of overnight success, but of a career carved out by sheer tenacity. Independent filmmaking is filled with obstacles—funding shortfalls, casting challenges, crew missteps—but Dawn’s story reminds us that every setback can be fuel for the next project. As she continues developing features and guiding new voices through Palm Street Films, her career stands as a reminder that filmmaking is not just about vision, but about the will to keep creating when everything seems stacked against you.

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IFH 811: How Pixar’s Story Secrets Can Transform Your Filmmaking Process with Brit Cruise

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Every once in a while, a conversation comes along that doesn’t just fill your mind—it redirects your thinking. On today’s episode, we welcome Brit Cruise, who lives at the intersection of creativity, logic, and education. Imagine a man who once edited videos as a child using two VCRs and a mic cable snaked across the room, only to grow into the visionary behind some of the most innovative educational content on the internet. This is the same curious mind now crafting immersive storytelling lessons with Pixar’s brightest.

Brit’s journey is rooted not in traditional metrics of success but in a profound sense of wonder. As a child, he was captivated not just by film, but by explanation—the act of making sense. Bill Nye was an early influence, and from a young age, Brit began creating explanatory videos as school projects, blazing his own path in the educational wilderness. This early spark matured into something far more potent: a mission to fuse storytelling, science, and learning into a format that ignites curiosity.

In our conversation, Brit paints a picture of how he works not by the clock, but by the rhythm of deep focus. He avoids context switching—the modern-day thief of presence—and instead breaks his day into two sacred creative chunks. “Any tool will work if you’re motivated,” he says, offering the kind of clarity that silences excuses. He writes by riverside with pen and paper, not for the words, but to build memory through movement—doodling, drawing, letting the subconscious flow through ink.

What unfolds in “Pixar in a Box” is a revelation: math and science are not isolated disciplines but threads woven into the very art of storytelling. A lesson on water simulation becomes a gateway into Newton’s equations. Hair animation unfolds through Hooke’s Law. But most exciting of all is the upcoming curriculum on the art of storytelling. Its goal? To guide learners from a blank page to a fully storyboarded short. “You should be creating as you’re learning,” Brit says—a philosophy that embodies the entire spirit of his work.

But it hasn’t been easy. Producing these lessons demanded reconciling two very different worlds: Pixar’s demand for polished, high-production visuals, and Khan Academy’s ethos of clarity over gloss. The solution? Build interactive tools so good they can serve both as educational activities and video visuals. A single solution, elegantly layered. This, Brit calls creative problem solving: “the ability to deal with unknowns.”

Indeed, Brit redefines creativity as the willingness to traverse uncertainty. While others might cling to a fragile first idea, fearing the cascading edits that come with change, he sees iteration as joy, not loss. “It’s like solving a puzzle,” he muses. “Rearranging the pieces again and again, enjoying how they might fit together differently each time.” He embodies a sacred kind of playfulness—the kind where depth and discipline are not at odds with wonder.

When asked what he hopes people take away from Pixar in a Box, he reflects not on the information, but on the people. Each lesson is led by someone who actually works at Pixar. Their “Getting to Know” videos reveal humble beginnings, curious paths, and the real human stories behind the animation magic. It’s about building models—not just mental, but personal—of who we might become if we simply followed the thread of our fascination.

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IFH 806: Shooting Sharks in Your Living Room: The Art of DIY Filmmaking with Ron Bonk

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Somewhere in the back alleys of the American dream, between the flicker of VHS static and the roar of midnight creature features, there exists a filmmaker with a toothy vision. On today’s episode, we welcome Ron Bonk, a self-taught indie film warrior who carved his way out of the antiquing business and into the bleeding heart of low-budget cinema.

Ron Bonk is a filmmaker and founder of SRS Cinema, best known for his cult horror-comedy “House Shark,” a film that quite literally brings the predator home.

In this raw and unfiltered conversation, we dive through the celluloid splinters of Ron’s journey, from borrowing camcorders at community college to orchestrating gore-laced dreamscapes in his own home. With the candor of a man who’s fought a hundred cinematic battles and still wakes up smiling, Ron recounts the moment he knew filmmaking wasn’t just a hobby—it was his spiritual vocation. He speaks of camcorders as if they were holy relics, and each low-budget shoot like a shamanic rite of passage. “I had to wear all the hats,” he admits, recalling 18-hour days of lighting, directing, and sometimes even serving the food. There’s a beautiful madness to that kind of devotion.

But what separates Ron from the common herd of content creators is his monk-like surrender to the calling. This is a man who would rather tell the story in his bones than chase distribution deals. When others sold out to weekend wedding shoots and corporate gigs, Ron stayed the course, even launching his own distribution company just to make sure his movies—and others like them—had a place to live. His filmmaking compass always pointed toward the misfit, the grotesque, the beautiful weird. “The idea was: how can I make something that’s mine, and still feed my kids?” he says, with a smile you can almost hear.

And then came “House Shark.” Born not in a boardroom or a script lab, but from the sound of ice cracking on his roof during a harsh Syracuse winter. Where some might see inconvenience, Ron saw inspiration. “Shark in a house,” he thought. And just like that, the impossible was made possible. The film is more than just a hilarious genre-bending monster romp—it’s a testament to what happens when you embrace your constraints and alchemize them into pure creative gold. He shot most of it in his own home, because he could control the space, the light, the chaos. The film became a sandbox of invention, a love letter to every filmmaker who ever asked, “What if?”

Ron’s journey also offers a cautionary tale cloaked in encouragement. He warns of the seductive pull of “safe” creative paths—weddings, commercials, and gigs that pay the rent but starve the soul. Yet he understands the temptation. “It’s easier said than done,” he acknowledges, “but you’ll blink and ten years have passed, and that movie you wanted to make is still sitting in your drawer.”

Throughout it all, there’s a recurring motif: the indie filmmaker as a sacred trickster. Whether telling the cops he’s shooting a student film or designing perks for an Indiegogo campaign that just barely breaks even, Ron adapts, survives, evolves. He speaks not just for himself, but for a whole tribe of underdog storytellers chasing celluloid ghosts across their living room floors.

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