Tomorrow is guaranteed to no one. Neither is today. Not guaranteed, but largely spoken for. That’s how things shake out when you have a day job that somehow turned into a fairly advanced parall...

Since I started making films, technology has rapidly advanced, democratizing the ability to capture high quality content on almost any budget. High end miniDV cameras like the DVX-100 gave way to the...

After a long hiatus, IFJ is back. We spoke with Patrick Krauss about Salvia Divinorum: A Western Approach, a documentary he produced with the late director, Erin Wyche. Patrick talks about Erin’...

Josh Stifter is a pillar of the indie filmmaking community with two features under his belt and a third on the way. An alumnus of Robert Rodriguez’s Rebel Without a Crew docuseries (during whic...

Andrew Simonian decided to create his own filmmaking opportunity when he made The Take Out Move. Find out how he shot his first feature for $3,500 and the philosophical approach to production that ma...

J. Arcane and Paul Erskine, the filmmaking duo better known as Arcane and Erskine, just released The Razing. It’s an intensely personal film, and the story of how it was made contains a wealth of i...

We spoke with Kenneth R Frank about nimble crews, post production fixes, and festival strategy, all important components of his film Family Obligations. IFJ: Congratulations on Family Obligations. Ca...

We talked to Kelly Walker about acting, making short films, and the importance of collaborating with the right people on any project. Her latest film, My Fiona, is available now. IFJ: Congratulations...

We spoke with Erich Kemp and got a glimpse into the production and distribution landscape of 2012/2013, as well as his thoughts on conventional vs self distribution, in particular access vs revenue s...

Paula Rhodes joined us to talk about making a feature with minimal crew and gear, resourcefulness, and how much of the film takes shape in post-production. IFJ: Congratulations on your feature direct...