How to Conduct Your Q&A When the Festival Doesn’t Provide a Moderator

It can be a long, anxious walk up to the front of the theater after screening your movie to a roomful of people you don’t know. The anxiety doubles for me when conducting the Q&A myself. But I’ve come up with a little game plan and some rules to follow that make it flow a little easier. Perhaps in the comments you can share some ideas of your own.

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The Marinated Meat
of Koreatown

This has nothing to do with filmmaking, but I have a tip for my carnivorous friends in Los Angeles. A little change of pace for your BBQ grill.

This is something I was turned on to a couple years ago. And anytime we’re invited to a BBQ, my wife and I try to pick some of this stuff up. It’s always a hit. Last time, we brought two pounds of marinated rib-eye and it was gone in a few minutes.


There is a supermarket in Koreatown called Assi Super at 3525 W 8th St, Los Angeles, CA 90005 that has a case of amazing marinated chicken, beef, short ribs, and pork in the back of the store. Sells for $3 to $5 per pound.

Do yourself a favor this summer, pick up a variety (the marinated rib-eye is my favorite) and throw it on the grill next weekend. You won’t know what hit you.

How about you? Got any gems around town you care to share?

Three Questions for:
Paul Osborne

Three Questions is an ongoing series to get filmmaking-related advice and insight from the people actually getting their hands dirty. Not from the chickenshit naysayers and posers on the sidelines… but from the people who can speak from hard-won experience, with the scars to prove it.


Paul Osborne is the writer and director of the award-winning thriller FAVOR, which is now available on iTunes, VOD and DVD everywhere. He previously directed OFFICIAL REJECTION, the acclaimed documentary about film festivals, wrote the indie feature TEN TIL NOON and is an occasional contributor to Moviemaker Magazine and Film Threat. Follow him on Twitter: @PaulMakesMovies

You can catch Favor on iTunes and DVD today. And now, Paul answers three questions I had about the release of his movie and how his “day job” helps and hinders his filmmaking.

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Paul Osborne

Make Your Own DCP,
Part I: Specs, Tools &
Prepping Your Source


DCP stands for Digital Cinema Package. It functions like a digital film print and is my first choice to exhibit my movies theatrically. At first, this format was out of reach for filmmakers on microbudgets. Even today, the places that will make them for you are, in my opinion, overcharging for it. About a year ago, I had a crime drama playing at festivals. Most were asking for a DCP or blu-ray to screen from. I made a blu-ray that looked perfect on my broadcast monitor, but at the festival, colors were washed out, blacks were elevated, and the projectionist could not figure out how to keep their player from folding my 5.1 mix down into stereo. If you haven’t experienced this sort of thing, and I’m sure you have, it’s a terrific thing to face — after two years of post-production getting the whole damn movie to sing just right, some goofball who couldn’t give a shit about doing their job right mis-projects your movie and is seemingly okay with not doing anything about it.

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Marion Kerr Reflects
on Heart of Now

This article was written some years ago by Marion. I’m happy to revisit posts like these to see if perspectives have changed, or just to see how much I’ve forgotten. -zf

For Heart of Now, the uniqueness for me was helping create the character of Amber and having so much say in how her world worked and operated and how her relationships developed. I would find so many of things I would say incorporating themselves into the screenplay. I remember, even on set, things would come up that would find their way into the film. I remember once I was sitting on the edge of the couch texting someone during a break and after awhile I leaned back and flopped onto my back on the couch. So, an hour later, we’re getting ready to set up a new scene of Gabe and I talking on the couch and Zak comes up and asks me to get into the exact same position I was when I was texting and to flop on the couch like I did halfway through the scene. I thought, man he’s watching everything. But it was interesting to see how much of myself he was looking to put into this character. Normally, actors are looking to separate themselves from who they play so much and I certainly was with this part. But I think between Zak and myself, we created a nice little balance between Amber and Marion.

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