Off The Lot: The Indie Filmmaking Podcast

How do you actually get started as a filmmaker when nobody is giving you money, grants, connections, or permission? In Episode 66 of Off The Lot , Anthony answers questions from emerging filmmakers about what it really takes to start directing, finance your first projects, break into the industry, and eventually build a sustainable career. We cover why grants should be treated as a bonus — not a plan , how to make films with the resources you already have, whether filmmakers still need traditional distributors, what micro-budget movies can realistically earn, and why your first feature may be more valuable as a career-building tool than as an immediate financial success. Anthony also breaks down: • How to start directing without waiting for someone to hire you • The biggest mistakes that kill low-budget films • Why your script, budget and schedule have to match • Whether applying to Telefilm and other funding programs is worth it • How filmmakers can build an audience through YouTube • How to actually get your first job on a film set • When film markets like TIFF are worth attending • What filmmakers should realistically expect to earn from a micro-budget feature • Why making the movie is sometimes only the beginning The central idea is simple: Start where you are. Use what you have. Make something. Then make the next thing bigger. Off The Lot is the podcast for filmmakers building careers outside the studio system. Subscribe for conversations about independent filmmaking, financing, producing, directing, distribution, and what it actually takes to get movies made.

What does it actually cost to make a $2 million independent feature? Ken and Anthony break down a hypothetical $2M movie using the Telefilm Canada budget structure and real lessons learned producing Remnant . They go line by line through above-the-line costs, cast, crew, equipment, locations, transportation, post-production, music, financing, tax credits and contingency. They also get into the costs filmmakers often overlook: actor buyouts, crew fringes, overtime, hard drives, trailers, permits, music licensing, legal fees, interim financing and the deals and relationships required to make a professional film at this budget level. If you're trying to figure out how much your indie film should actually cost — and where that money should go — this episode is a practical starting point.

Writer-director Nat Boltt joins Off The Lot to break down the decade-long journey behind her feature directorial debut, Holy Days . The film stars Judy Davis, Jacki Weaver and Miriam Margolyes, topped the box office in New Zealand, and went on to a global theatrical release — but getting there meant surviving years of development, financing setbacks, international co-production challenges, lost investors and an ambitious 26-day shoot. Nat takes us inside how she landed her cast, navigated funding through Canada and New Zealand, shot complex road sequences using LED stages, and pulled off a major snowstorm sequence with limited resources. But some of the biggest lessons came after the movie was finished. We talk about the realities of independent film distribution, why filmmakers are increasingly being forced to build and market their own audiences, what she believes is broken about the current system, and why she plans to approach the release of her next film very differently. A candid conversation about getting a first feature made, getting it seen, and what indie filmmakers need to understand if they want to build sustainable careers outside the studio system.

I finally made my first feature film. After years of working in film and television, raising the money, assembling the team, shooting Remnant , going through post-production and now entering distribution, there are things I understand about filmmaking that I simply didn’t before. In this episode of Off The Lot , Anthony walks me through the entire filmmaking process as I break down five of the biggest lessons I learned making my first feature — from getting the movie financed and casting the right actors, to protecting the magic on set, testing the film with audiences, and thinking about distribution long before the movie is finished. We get into what actually happens when the plan falls apart on set, why casting can make or break your movie, why filmmakers need to test their cuts, how to know what success means for your film, and why nobody is ever going to care about your movie as much as you do. If you’re trying to make your first feature film, this is the episode I wish I could have listened to before making mine. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Harrison Houde and Dakota Daulby spent years trying to get a feature film made. Then a producer called and essentially said: write the movie — we’re shooting it this year. The result was Tight Lettuce , a bilingual English/French dark comedy inspired by a true story about a son trying to maintain a relationship with his heroin-addicted father. The film went on to premiere at the Fantasia International Film Festival and win the Golden Audience Award for Best Quebec Film. In this episode of Off The Lot , Harrison and Dakota break down what it actually took to turn the project into their first feature — from originally developing it as a $100,000 short to suddenly having the opportunity to make the full movie. We get into: How a Facebook message eventually became a feature film Writing a first draft in roughly a month Financing the film outside the traditional Telefilm model Making a sub-$2.5M indie feature in 20 shooting days Why their 20-day shoot effectively became 16–17 days Casting Quebec star Emmanuel Bilodeau Combining comedy and addiction without trivializing either What they learned from 12–13 cuts of the movie Why Harrison says he’d never start another movie with car scenes The mistakes they made on their first feature Why they now want recognizable cast attached earlier What filmmakers misunderstand about theatrical distribution The reality of trying to get an indie film onto movie screens They also talk candidly about the biggest writing problem they discovered in the edit, what they would put in their contracts next time, and the lessons they’re already applying to their next films. Subscribe to Off The Lot for conversations about what it actually takes to finance, make, finish, and release independent films outside the studio system. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

A great 1st AD doesn’t just keep a film on schedule — they can completely change what a director is capable of accomplishing on set.In this episode Ken and Anthony break down one of the most important relationships in filmmaking: the director and the 1st assistant director. Ken shares what he learned directing his first feature, REMNANT, including working with veteran 1st AD Pete White, restructuring impossible shooting days, running two units simultaneously, knowing which shots could be pushed, and why the best ADs are much more than glorified schedulers. Anthony brings the perspective of an experienced 1st AD: how to earn a director’s trust, plan an ambitious shot list around the reality of an indie schedule, manage dozens of departments without creating panic, protect safety without compromising the film, and keep an entire set moving with purpose. We also break down chain of title — the paperwork every independent filmmaker needs to protect their movie before money, partners, investors, distributors, and competing interests enter the picture. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Christopher Nolan’s The Odyssey is unlike anything ever put on a movie screen. Shot entirely on IMAX film across oceans, mountains, deserts and ancient landscapes, it is an astonishing feat of physical filmmaking—and arguably the ultimate theatrical experience.But is technical achievement enough to make a great movie? In this full-spoiler review, we break down Nolan’s adaptation of Homer’s epic, from the Trojan Horse and the Cyclops to Calypso, Ithaca and the slaughter of the suitors. We examine the film’s most significant changes to the original text, including the removal of most of the Greek gods, Odysseus’s altered motivation, the elimination of his defining act of hubris and Nolan’s decision to transform a story about homecoming into one about guilt, trauma and regret. We also go inside the extraordinary production: enormous IMAX cameras, two-and-a-half-minute film magazines, custom soundproof camera housings, mirrored eyeline systems, real ships and practical environments. Nolan and his collaborators effectively had to invent new filmmaking techniques just to get the movie made. The result is visually overwhelming and technically historic. But does The Odyssey give us a hero worth rooting for? Did Nolan’s changes weaken Odysseus’s journey? And why does the climactic return to Ithaca feel less emotionally satisfying than it should? Spoiler warning: This episode discusses the entire film and major events from Homer’s original story.Subscribe to Off the Lot for candid conversations about filmmaking, film financing, production and what it takes to build a career outside the studio system.

Movie theaters aren’t dying. In fact, more people are buying tickets—and the films succeeding are challenging several assumptions Hollywood has made over the last decade. In this episode of Off The Lot, we examine why theatrical admissions are rising, how longer release windows and a stronger supply of original movies are rebuilding the moviegoing habit, and why audiences no longer simply “go to the movies”—they choose one specific film worth leaving home to see. We also break down one of the most difficult decisions facing independent producers: does casting a recognizable actor actually help sell an indie film? Ken shares what changed after Kim Coates joined Remnant, including the credibility a known actor can bring—and the hidden production costs that come with hiring one. Then we discuss Vancouver producer Chris Ferguson and Oddfellows’ new first-look deal with Warner Bros., what their success proves about building a repeatable genre-film company, and why their rise creates opportunities for the next generation of Canadian producers. In this episode: •⁠ ⁠Why theatrical admissions matter more than box-office headlines •⁠ ⁠How longer theatrical windows create urgency and audience demand •⁠ ⁠Why original horror films are bringing younger viewers back •⁠ ⁠Recognizable actors versus genuinely bankable actors •⁠ ⁠The true cost of adding a name actor to an indie production •⁠ ⁠How Oddfellows built toward its Warner Bros. partnership •⁠ ⁠Why production companies need a repeatable pipeline •⁠ ⁠The real value of genre festivals such as Fantasia

Mayumi Yoshida spent nine years turning a deeply personal idea into her first feature film, Akashi—writing, directing, producing, and starring in a story that crosses generations, countries, and languages. In this episode, Mayumi reveals how a conversation with her grandmother evolved from a stage play into an award-winning short and, eventually, a critically acclaimed feature. She also breaks down the fight to finance an 80% Japanese-language Canadian film—and how she and a coalition of filmmakers helped push Telefilm Canada to remove a policy that prevented many multilingual stories from qualifying for funding. We also discuss: * Directing herself while leading an international cast * Shooting in Vancouver and Japan on an extremely compressed schedule * How losing six production days shaped the film’s visual language * Rehearsing film scenes like theatre to survive two- and three-take days * Cutting a completed two-hour version down to 100 minutes * Using black and white, colour, production design, and sound to explore memory * Why filmmakers should choose stories they can remain committed to for a lifetime * The importance of knowing when you are—and are not—the right person to tell a story Akashi premiered at the Vancouver International Film Festival, where it won the Audience Choice Award, and went on to receive major recognition at the Whistler Film Festival, Reel Asian, and the Leo Awards. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Most filmmakers build pitch decks around the movie they want to make. But an investor is looking at your project through a completely different lens: How do I get my money back—and what protects my downside? In Episode 57 of Off The Lot, Ken Kabatoff and Anthony Furey break down what an effective indie film investor deck actually needs to accomplish. We discuss: • The difference between a creative pitch deck and an investor deck • What private film investors actually need to understand • How to explain your budget, finance plan, tax credits, and recoupment waterfall • Why cinematography and concept art should not dominate the presentation • How cast, comparable films, timing, and market positioning help reduce perceived risk • Whether filmmakers need their own marketing plan • Why your deck should inspire a conversation—not replace one • The legal risks of publicly soliciting film investment • How to make financial information clear without making the deck feel dry A good investor deck does more than make your film look exciting. It demonstrates that you understand how the project will be financed, completed, sold, and positioned to return capital. If you are trying to privately finance an independent feature, this episode provides a practical framework for building the document that may open the door. Subscribe for candid conversations about financing, producing, directing, selling, and building independent films outside the studio system. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Corey Payette did not wait for a studio to give him permission. He built his stories on stage, proved them in front of live audiences, and then turned them into award-nominated films — including Star Walker, which earned 10 Leo Award nominations. In this episode of Off The Lot, Corey breaks down how he went from theatre, music, and original Indigenous storytelling into feature filmmaking, how Star Walker evolved from a stage musical and TV series development process into a feature film, and what it actually takes to make a drag musical outside the traditional studio system. We talk about: How Corey adapted Star Walker from stage to screen Why the film was made without traditional Telefilm or studio financing The challenge of shooting a feature musical in drag on a tight schedule How community, chosen family, and queer joy shaped the film Why one story can become a stage show, feature film, album, tour, and published script What Corey learned moving from theatre into filmmaking This is a conversation about building durable creative work, making films outside the system, and finding a way forward when the industry says no. Subscribe to Off The Lot for conversations with filmmakers building careers on their own terms. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter here: The Film Founder Follow Anthony Epp's newsletter here: The Greenlight Report Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony Epp sits down with Ken Kabatoff for a candid conversation about the recent changes to Telefilm Canada's development funding, the challenges facing emerging Canadian filmmakers, and the growing need to balance creative ambition with financial sustainability. They reflect on networking, content creation, building an audience, and why long-term careers are built through persistence rather than overnight success. Listen now for an honest discussion about filmmaking, funding, creative resilience, and what it really takes to keep making movies. Vulture: The Unglamorous Financial Realities of 5 Indie Filmmakers https://web.archive.org/web/20260623153204/https://www.vulture.com/article/indie-filmmakers-money.html Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Greenlight Report here: https://greenlightreport.substack.com/?utm_id=97760_v0_s00_e0_tv3 Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony Epp and Ken Kabatoff discuss two of the biggest stories in independent filmmaking right now: the debate over crew compensation on breakout indie hits and the growing influence of YouTube creators in the film industry. Using the success of Obsession as a starting point, they explore backend points, producer risk, union protections, and what filmmakers and crew members can realistically expect from low-budget productions. They also examine how creators like Curry Barker, Kane Parsons, Markiplier, and Chris Stuckmann are using online platforms to develop their craft and build careers outside the traditional studio system. Along the way, Anthony and Ken discuss film financing, distribution, audience building, and why the recent success of independent horror films may be opening new doors for emerging filmmakers. Listen now for a conversation about independent film, creative opportunity, and the changing path to a career in filmmaking. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony Epp sits down with Julie Bruns and Steven Kammerer, filmmakers and actors behind Beneath Crimson Sails for a wide-ranging conversation about fantasy storytelling, independent filmmaking, and the passion projects that keep artists creating. Drawing inspiration from worlds like The Lord of the Rings, The Witcher, and classic adventure cinema, the guests discuss building immersive universes, crafting memorable characters, and bringing ambitious genre stories to life on independent budgets. The episode explores the challenges of writing and developing long-form creative projects, the importance of world-building, and how filmmakers balance inspiration from beloved franchises while creating something uniquely their own. Along the way, the conversation branches into gaming, practical storytelling lessons, favorite films, dream acting roles, and the enduring appeal of fantasy adventures. Anthony and his guests also share advice for aspiring filmmakers, emphasizing the importance of reading widely, experiencing the world firsthand, and choosing projects you genuinely love—because filmmaking is a long journey that demands persistence, curiosity, and commitment. Listen now for an entertaining discussion about fantasy, filmmaking, creativity, and what it takes to build stories that audiences can truly get lost in. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony Epp sits down with filmmaker, visual artist, and Vancouver Film School instructor Chad Costen to discuss the long journey behind his new fantasy feature film, Mister Sandman. Chad reflects on discovering filmmaking through Star Wars, making homemade monster movies as a teenager, and building a career that spans directing, visual effects, creature design, and teaching. The conversation explores the making of Chad’s first feature, The Coming, the lessons learned from early filmmaking struggles, and the years-long process of bringing Mister Sandman to life. Chad shares how a proof-of-concept trailer helped launch the project, why he created a series of interconnected short films to support the feature, and how the pandemic forced major changes to casting and production plans. Along the way, Anthony and Chad discuss creative collaboration, independent filmmaking, practical effects, and the importance of finding the right team. They also dive into the influence of Star Wars, the storytelling philosophy of Robert Zemeckis, and Chad’s upcoming theatrical tour for Mister Sandman across Western Canada. Listen now for an honest conversation about resilience, creativity, and what it takes to turn a lifelong passion for filmmaking into a feature film. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony Epp sits down with producer Matt Cervi for an in-depth conversation about the realities of independent filmmaking in Canada, from financing challenges to the thrill of bringing ambitious genre stories to life. Matt reflects on studying at USC School of Cinematic Arts, working with companies behind The Walking Dead and The Terminator, and later building Mad Samurai Productions around his passion for smart genre filmmaking. The episode explores the difference between producing and executive producing, the risks of independent film financing, and why relationships are often the most important currency in the film industry. Matt also shares stories from producing films like The Colony and executive producing Remnant, while discussing why privately financed projects can move much faster than traditional Canadian funding models. Along the way, Anthony and Matt talk about the untapped potential for Canadian genre cinema, the unpredictability of movie success, and the importance of collaboration, resilience, and creative passion in surviving the chaos of independent filmmaking. Listen now for an honest, behind-the-scenes look at what it really takes to get independent films made — and why filmmakers keep coming back despite the risks. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

Anthony flies solo this week while Ken is deep in post-production on Remnant, leading to a thoughtful conversation about what really makes film sets succeed: chemistry, alignment, and trust. Inspired by the rebuilding of the Vancouver Canucks and comments from Ryan Johnson, Anthony compares hockey teams to indie film crews in a surprisingly relatable way. Drawing from his recent experience assistant directing Sundowning, he explores why many independent productions struggle — from people wearing too many hats to departments pulling in different creative directions. The episode covers leadership, prep, communication, crew dynamics, and how producers and directors can build teams that feel collaborative instead of chaotic. It’s an honest, practical episode about making better movies by building better teams — perfect for filmmakers, film students, and anyone curious about the creative process behind independent filmmaking. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

In this episode of Off The Lot, Anthony Epp sits down with casting director and producer Monika Dalman for a deep dive into the rapidly growing world of vertical micro dramas — the fast-paced, phone-first storytelling format becoming one of the biggest production booms in North America. From billion-dollar industry growth to nonstop productions shooting across Vancouver, Monika explains why the entertainment industry is beginning to take the format seriously. The conversation explores how changing consumer behavior is reshaping film and television, why traditional studios are adapting to vertical storytelling, and what makes these serialized dramas so effective at capturing audiences. Anthony and Monika also discuss casting, financing, fair pay, union protections, and the realities of building sustainable productions in a fast-moving new space. Whether you’re a filmmaker, actor, producer, or simply curious about where entertainment is heading next, this episode offers an inside look at one of the industry’s fastest-growing formats. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

This week on Off The Lot, Ken Kabatoff sits down with directors Eric Foss and Brandon Pickering to discuss their new documentary Sell Your House — a behind-the-scenes look at the making of indie crime thriller The Last Stop In Yuma County that became something far bigger. The film follows producer James Claeys, who sold his own house to finance the movie after years of failed studio development, celebrity attachments, and dead-end distribution conversations. Eric and Brandon break down how a planned 20-minute featurette evolved into a feature documentary about friendship, risk, self-distribution, and the harsh realities of modern indie filmmaking. The conversation dives deep into film financing, predatory distribution deals, audience building through social media, YouTube success stories, and why more filmmakers are starting to question the traditional Hollywood system altogether. If you’re trying to figure out how independent films actually get made — and what happens after the movie is finished — this episode is for you. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri

In this episode of Off The Lot, Anthony reflects on the intensity of his current horror shoot — managing complex elements like fire, special effects, and working with animals, all within tight production constraints. He highlights how the genre demands precision in both timing and execution, and why capturing multiple variations on set is essential to support the edit. Ken shares insights from a recent test screening of Remnant, describing the experience as challenging but invaluable. He emphasizes the importance of honest audience feedback — particularly from non-filmmakers — in revealing what is truly working and what is not. The conversation explores key takeaways from the screening, including clarity of storytelling, pacing, and the strength of the audience’s emotional connection to the protagonist. Ken discusses how this feedback translated into practical adjustments, from ADR to a targeted pickup shoot. The episode concludes with a reflection on additional photography and the realities of post-production, where thoughtful refinements and small changes can have a meaningful impact on the final film. Follow Ken's Indie Horror Feature Remnant here: www.remnantmovie.com Follow Ken Kabatoff's newsletter The Film Founder here: https://kenkabatoff.substack.com/about Follow Anthony Epp's newsletter The Filmmaker's Notebook here: www.anthonyepp.com Follow Ken & Anthony on Instagram here: @ken_kabatoff @epptri