Podcast

IFH 846: Why Breaking Into TV Is HARDER Than You Think with Sandra Leviton

by

On today’s episode, we welcome Sandra Leviton, a television development executive turned producer and writer who has worked on shows like Sons of Anarchy and It’s Always Sunny in Philadelphia, and now runs her own production company while developing feature films. Her journey is one of evolution—moving through different corners of the industry while learning how the business really works behind the curtain.

From the very beginning, Sandra knew exactly where she was headed. There was never a backup plan, never a moment of doubt about her path. She started young, working in theater and cable access television, eventually landing in Los Angeles with a built-in network from her college community. That early support system became crucial, because as she makes clear, no one truly builds a career in this industry alone. Relationships, connections, and shared growth are part of the foundation of any long-term success.

Her early career is a reminder that the path into filmmaking is rarely linear. Sandra began in reality television, working on shows during a time when that side of the industry was exploding. It wasn’t glamorous, but it was opportunity. From there, she transitioned into agency work, balancing both reality and scripted television before fully stepping into the scripted world. That movement between formats—reality, scripted TV, and eventually film—highlights something many filmmakers overlook: the industry is fluid, and your path can shift as long as you stay in motion.

Her time at FX became a defining chapter. Working during what many consider a golden era of television, she witnessed firsthand how shows were developed, pitched, and brought to life. She was there as projects like Sons of Anarchy and Louie took shape, and she saw how the business evolved from more open pitching environments to a system increasingly driven by established talent and recognizable names. As she explains, what once allowed scrappy creators to break in more easily slowly transformed into a more competitive, gatekeeper-heavy process.

That shift is especially clear when discussing how television differs from film. Many filmmakers assume the two operate similarly, but Sandra makes it clear that television is still deeply rooted in a structured system. Unlike independent film, where you can create, distribute, and build momentum on your own, television typically requires navigating a funnel of agents, managers, networks, and executives. Even success stories like It’s Always Sunny in Philadelphia had access to industry connections that helped them break through. The lesson is not to be discouraged, but to understand the system you’re trying to enter.

After years in development, Sandra made the conscious decision to pivot. She launched her own company, focusing on producing and writing feature films, where she could have more creative control and build projects from the ground up. Her short film Zone 2 became a stepping stone—proof of concept, creative expression, and a way to re-engage with the hands-on process of filmmaking after years behind the desk. It’s a move many filmmakers eventually consider: stepping away from the system to create something on their own terms.

One of the most practical insights she shares is about strategy. Too many filmmakers pour resources into projects without thinking about the end goal. Shooting a television pilot, for example, may feel like progress, but if the intention is to sell it into the traditional system, it will likely be redeveloped from scratch anyway. Instead, she emphasizes focusing on writing, building a strong portfolio, and understanding how the industry actually evaluates projects. It’s not just about creating—it’s about creating with purpose.

Sandra also speaks candidly about the realities of building a career. There is no such thing as overnight success. Behind every “breakthrough” is often a decade of work, relationships, and persistence. She stresses the importance of networking—not in a transactional way, but in a genuine, human way. People can sense when they’re being used, and the strongest connections come from authenticity. In an industry built on collaboration, those relationships often become the bridge to future opportunities.

Perhaps the most grounded advice she offers is also the simplest: keep creating. Whether it’s writing scripts, producing small projects, or experimenting with content online, the act of doing the work is what builds skill and visibility. Today’s technology has removed many barriers, giving filmmakers the ability to create and share their work instantly. The only real limitation is whether you choose to use it.

In the end, Sandra Leviton represents a filmmaker who understands both sides of the industry—the system and the independent path—and knows when to navigate each. Her journey is a reminder that success in filmmaking isn’t just about talent, but about strategy, relationships, and the willingness to adapt as the industry evolves.

Right-click here to download the MP3

Read more

IFH 845: The Screenwriting Software Changing How Writers Work with Guy Goldstein

by

On today’s episode, we welcome Guy Goldstein, a screenwriter, programmer, and the creator of the collaborative screenwriting platform WriterDuet. Some filmmakers find their calling behind a camera, others through words on a page, but Guy found his path in the strange intersection between storytelling and technology. It’s the place where creativity meets efficiency, where the writer’s imagination is supported by tools that make the process smoother rather than more complicated.

Guy’s journey into screenwriting software began with a simple frustration many writers share. Anyone who has ever written dialogue knows that the page can lie. Lines that look sharp and clever in silence can feel flat when spoken aloud. Early in his career, Guy experimented with a project that allowed writers to hear their scripts performed using computer voices or remote actors. The idea was not to replace actors, but to give writers a practical way to hear their dialogue without organizing a full table read. For many screenwriters working independently, this kind of tool could be the difference between guessing and truly understanding how their script sounded.

But the bigger revelation came when Guy examined the tools screenwriters were using every day. Most screenwriting software was designed around a very old assumption—that writing is done alone. Yet anyone who has spent time in a writers’ room knows that filmmaking is deeply collaborative. Feature films often have multiple writers. Television scripts emerge from rooms filled with voices shaping the same story. Even independent filmmakers frequently work with partners, editors, and collaborators during the writing process.

The tools, however, hadn’t caught up with that reality.

That realization sparked the creation of WriterDuet. Instead of writers sending drafts back and forth through email, they could now open a screenplay together and work simultaneously in real time. Changes would appear instantly for both collaborators, eliminating the constant confusion of version numbers, file names, and lost edits. It was a deceptively simple solution to a problem that had quietly frustrated writers for years.

What makes Guy’s perspective unique is how he sees the connection between programming and storytelling. In software development, large systems are broken down into smaller components that work together. A screenplay operates in much the same way. A film begins as a large narrative idea, but it must be constructed through scenes, sequences, and character arcs. Each element has a purpose. Each moment contributes to the larger structure of the story.

This technical mindset helped Guy approach screenwriting software differently. Rather than focusing solely on formatting scripts, he looked for ways to improve the writing process itself. Features like real-time collaboration removed logistical barriers between co-writers. Revision history allowed writers to revisit earlier versions of scenes without fear of losing work. Branch drafts let writers experiment with alternate story paths while keeping their original structure intact.

In essence, the software was designed to support the creative process instead of interrupting it.

Yet Guy is also quick to remind writers that tools alone will never create a great screenplay. The emotional core of a story—the characters, the conflict, the voice—must still come from the writer. Software can help remove distractions, but it cannot replace imagination. The real goal is to create an environment where writers spend less time fighting their tools and more time shaping their stories.

That philosophy has quietly resonated throughout the filmmaking community. Professional writers, television productions, and independent filmmakers have all begun adopting collaborative tools like WriterDuet as part of their workflow. In a business where speed and collaboration matter, anything that streamlines communication between writers becomes incredibly valuable.

But perhaps the most interesting takeaway from Guy’s journey is how innovation often begins with a personal problem. He didn’t start out trying to change the screenwriting industry. He simply wanted a better way to write, collaborate, and manage scripts. By solving that problem for himself, he ended up creating something useful for thousands of other writers.

And that is often how progress happens in filmmaking. A filmmaker solves a problem on one project, and suddenly the entire industry benefits from the solution.

In the end, Guy Goldstein represents a new kind of filmmaker—someone who understands that storytelling doesn’t only happen on screen. Sometimes it also happens in the tools that make storytelling possible.

Right-click here to download the MP3

Read more

IFH 844: How to Turn a YouTube Idea Into a Feature Film with Patrick Epino

by

On today’s episode, we sit down with Patrick Epino, an actor, producer, and filmmaker who proves that sometimes the best ideas start as a joke—and then turn into a feature film. Patrick’s journey from film school graduate to co-creator of Awesome Asian Bad Guys is a masterclass in community building, crowdfunding, and understanding your niche.

Patrick began his filmmaking path in the San Francisco Bay Area before earning his MFA in Cinema at San Francisco State University many filmmakers who obsess over massive thesis productions, Patrick embraced simplicity. He made projects cheaply, quickly, and creatively—sometimes for just a few hundred dollars. His philosophy was clear: get the bad films out of your system early, experiment often, and learn by doing.

After film school and a move to Los Angeles, Patrick partnered with Steven Dypiangco to launch the National Film Society, a YouTube channel dedicated to film culture. What started as online content creation evolved into something bigger. One of their early videos discussed a recurring Hollywood trope—the silent, hyper-lethal Asian villain who appears briefly, speaks little, and dies spectacularly. The video was titled Awesome Asian Bad Guys, and it resonated with audiences.

At the end of that short YouTube video, Patrick and Steven casually joked that someone should make an Expendables-style movie starring these iconic Asian villains. Then they paused—and realized they could be the ones to make it happen.

Instead of waiting for studio interest, they went directly to the audience. Their Kickstarter campaign raised over $50,000, but Patrick makes it clear: crowdfunding is not easy money. It requires relentless outreach, content creation, and constant engagement. They hosted live online events, created promotional graphics and updates, and leaned into the community they had built through YouTube. It wasn’t luck. It was preparation meeting opportunity.

The built-in audience was critical. Because they had already been producing videos consistently, they weren’t asking strangers for money—they were inviting supporters into the next chapter of a shared journey. That distinction matters. Crowdfunding works best when you’ve already invested in your audience long before you ask for support.

Casting the film followed a similar strategy. By leveraging relationships within the Asian American entertainment community, Patrick and his team created momentum. Each actor who joined added credibility, which attracted the next. It became a snowball effect fueled by trust and shared enthusiasm. The production moved quickly—shot in roughly eight days—with Patrick and Steven co-directing. Their prior collaboration made the dual-director dynamic work smoothly.

Of course, no indie production is without challenges. Scheduling conflicts required rewriting scenes overnight. Fight choreography demanded precision within limited time. Budget constraints forced creative problem-solving. But the team adapted, proving again that resourcefulness often outweighs resources.

Today, Awesome Asian Bad Guys lives on VOD platforms, and Patrick is already thinking ahead—to sequels, spin-offs, and expanding the universe to include “Awesome Asian Bad Girls.” The idea that started as a YouTube punchline has evolved into a proof of concept for niche-driven independent filmmaking.

Patrick Epino reminds us that you don’t need Hollywood’s permission to create. You need an audience, a team, and the courage to follow through on the idea everyone else laughs at.

Right-click here to download the MP3

Read more

IFH 843: How to Turn a Short Film Into a Film Career with Jennifer & Kevin Sluder

by

On today’s episode, we sit down with Jennifer Sluder and Kevin Sluder, a husband-and-wife filmmaking team who prove that building a career in independent film is less about waiting for permission and more about creating your own momentum. Their journey from North Carolina to Los Angeles wasn’t fueled by fantasy—it was fueled by persistence, craft, and the willingness to bet on themselves.

Kevin’s early years in Los Angeles were shaped by screenwriting. A Nicholl Fellowship semifinalist, Script Pipeline finalist, and Tracking Board Recommend writer, he experienced the highs of industry recognition and the lows of Hollywood passes. Scripts gained attention, managers took meetings, and doors cracked open—but like many writers discover, attention doesn’t automatically equal production. Rather than allowing those near-misses to stall his career, Kevin kept writing, refining, and building a portfolio strong enough to answer the industry’s inevitable question: “What else do you have?”

While Kevin pursued writing full-time, Jennifer supported the move west after completing her medical training. A pediatrician by profession, she approached filmmaking from an entirely different background—but what started as support quickly turned into passion. When Kevin produced his first short film, Play Violet for Me, Jennifer found herself captivated by the energy of a working set. Watching actors bring Kevin’s words to life sparked something new. That short film wasn’t just a project—it was the beginning of Sunshine Boy Productions.

The creation of their production company marked a shift from chasing opportunity to building it. Instead of waiting for a studio to greenlight a feature, they invested in producing shorts that could showcase Kevin’s writing and their growing filmmaking network. With each project, they learned the mechanics of SAG paperwork, casting, budgeting, and festival strategy. What began as experimentation evolved into a sustainable creative partnership.

Jennifer stepped into the role of marketing director, teaching herself web design, social media strategy, and audience engagement from the ground up. Rather than viewing social media as noise, she treated it as connection. Through Twitter and online outreach, they built relationships with filmmakers, publicists, and genre fans—proving that smart networking can amplify even the smallest indie project. In a crowded digital space, authenticity became their greatest marketing tool.

The evolution continued when Kevin decided to direct his first short film, Heartless, an adaptation inspired by Edgar Allan Poe. Encouraged by fellow filmmakers in his network, he transitioned from writer-producer to director. The project demanded logistical precision—blood effects, tight scheduling, and a three-day shoot window—but it also highlighted the power of community. Cast and crew came together through relationships built over years in Los Angeles. The result wasn’t just a finished film—it was a filmmaker leveling up.

Now taking Heartless through the festival circuit, the Sluders are positioning themselves for their next step: feature filmmaking. Their story illustrates a key truth about independent film: momentum compounds. Each short leads to a stronger network. Each festival builds credibility. Each project becomes proof of execution.

At its core, the Sluders’ journey isn’t about overnight success. It’s about strategic growth. It’s about combining artistic ambition with practical action. It’s about recognizing that if the industry won’t hand you a greenlight, you can build your own.

For Jennifer Sluder and Kevin Sluder, filmmaking is not just a career—it’s a partnership, a business, and a shared creative mission.

Right-click here to download the MP3

Read more

IFH 842: The Art of Networking in Hollywood – Real Strategies That Work with Erman Baradi & Brandon Waites

by

On today’s episode, we dive into one of the most misunderstood yet essential aspects of filmmaking: networking. Joining the conversation are Erman Baradi and Brandon Waites, two filmmakers who have built reputations not just for their projects, but for their ability to connect people in meaningful ways. Their journey proves that Hollywood isn’t simply about talent — it’s about relationships.

Brandon’s path began in the military, where he developed discipline and structure before transitioning into filmmaking. While serving, he worked security during the filming of Transformers, witnessing firsthand how large-scale productions operate. That exposure reinforced his desire to enter the industry, but instead of rushing into Los Angeles blindly, he focused on building connections strategically. Erman, on the other hand, cultivated his storytelling passion early, eventually leveraging social media to create a presence long before physically relocating to LA. He intentionally spent years networking online before making the move, ensuring he already knew hundreds of industry professionals.

Their philosophy is simple but powerful: build relationships before you need them.

Too many aspiring filmmakers make the mistake of leading with their script. They attend events, corner producers, and immediately try to pitch. As the conversation reveals, this approach rarely works. The better strategy? Offer value first. Ask someone for coffee. Start a conversation. Learn about their journey. Build rapport. Hollywood is a small town, and reputation travels fast. Being respectful, patient, and genuine leaves a far stronger impression than forcing a screenplay into someone’s hands.

One of the most compelling parts of their discussion revolves around understanding hierarchy. Assistants and interns are often overlooked, yet they serve as gatekeepers. Erman and Brandon stress the importance of respecting everyone in the ecosystem — from assistants to executives. Today’s assistant may become tomorrow’s producer. Building authentic connections across every level of the industry is far more sustainable than chasing a single “big name.”

They also emphasize patience. Success stories often hide years of persistence behind a single breakthrough. Doors rarely swing open overnight. Thick skin is mandatory. Rejection is constant. Sometimes the answer will be blunt — even harsh. But those who endure, adapt, and continue reaching out respectfully are the ones who remain in the game long enough for opportunities to appear.

This mindset directly influenced the creation of their platform, The Film Empire. Rather than launching another contest focused solely on prize money, they built a system centered around mentorship. Winners gain meetings with established producers and executives — real access that fosters long-term relationships. It’s not just about recognition; it’s about conversation, guidance, and getting in the room.

Ultimately, Erman Baradi and Brandon Waites demonstrate that networking isn’t about collecting business cards. It’s about cultivating trust. It’s about consistency. It’s about showing up professionally, both online and in person. In an industry where talent is abundant but relationships are rare, the filmmakers who succeed are often the ones who master connection before they master distribution deals.

Right-click here to download the MP3

Read more

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

by

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.

Right-click here to download the MP3

Read more

IFH 840: Finding Your Way into Film Without Film School with David Powers

by

On today’s episode, we welcome David Powers, a filmmaker whose journey into the industry proves that there is no single roadmap into cinema—only curiosity, persistence, and a willingness to learn by doing. David’s path didn’t begin in film school or on a studio lot. It started with a fascination for movies, professional wrestling, and the simple question every filmmaker eventually asks: how do they make this?

Originally studying business and marketing, David found himself increasingly disconnected from a traditional academic path. Movies—especially horror and cult cinema—became his gateway into understanding storytelling, tone, and genre. That curiosity deepened after attending the New York Asian Film Festival for the first time, where he was exposed to films, filmmakers, and storytelling traditions he’d never encountered before. Watching these movies didn’t just entertain him—it ignited a desire to understand what was happening behind the camera.

Rather than returning to school, David took advice that changed everything: go to set and learn the job firsthand. Within months, he found himself working on productions, absorbing how crews function, how decisions are made, and how problems are solved in real time. That hands-on education quickly led him into production work with independent professional wrestling promotions, where he learned camera operation, coverage, and storytelling under pressure—often from ladders, scaffolding, or whatever setup was available.

Those early experiences taught David a lesson many filmmakers learn the hard way: waiting for perfect conditions is a trap. Early shoots were done with borrowed or outdated gear, but the work got made. Feedback came fast and sometimes blunt, but it shaped his instincts. Each mistake became a tool, not a setback. As David puts it, filmmaking teaches you how to fail—and how to get better because of it.

Alongside set work, David began volunteering with the New York Asian Film Festival, initially helping wherever he could. Over time, that consistency turned into trust, and trust turned into responsibility. Today, he serves as Operations Manager for the festival, helping coordinate events, guests, screenings, and logistics. His rise within the organization wasn’t fueled by ambition alone—it came from showing up, asking for more responsibility, and genuinely caring about the experience of both filmmakers and audiences.

The conversation also explores burnout—an inevitable topic for anyone who has worked long days on low-budget sets. David speaks candidly about projects where poor planning, miscommunication, or ego made the work unsustainable. Over time, he learned the importance of saying no, reading contracts carefully, and trusting his instincts. Experience taught him that not every opportunity is worth taking, and longevity requires discernment as much as passion.

Yet stepping back didn’t mean walking away. Through the festival, David stayed connected to cinema in a healthier, more meaningful way—curating experiences, supporting filmmakers, and keeping the creative spark alive. Recently, he’s returned to directing through NYAFF Chat, a talk-show-style series that keeps the festival engaged year-round and puts him back behind the camera with renewed clarity.

Ultimately, David Powers represents the filmmaker who learns by moving, not waiting. His story is a reminder that film careers are built sideways as often as they are built forward—and that sometimes the path back to creativity begins with protecting your love for the craft.

Right-click here to download the MP3

Read more

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