A podcast with director Noah Buschel about the dangers of indie filmmaking: Part I

By Adam Lippe

Below you’ll find part I of a podcast I did with Noah Buschel, the director of The Missing Person, Neal Cassady, and Bringing Rain. This was a very candid discussion that went on for several hours, but you do not need to have seen his films to understand the talk. Mostly, this is a primer for filmmakers about how to scale the independent film walls, from the script process, to selling, to dealing with producers, festivals, etc. .

And Noah would know more about this subject than almost any filmmaker because his three films were made in 3 entirely different markets, since the indie film business changes so frequently. Though the interview was recorded in June (and Noah and I have talked before), I wanted to put it up now, as a counterpoint to my interview with Going the Distance writer Geoff LaTulippe, which is all about working within the Hollywood system. Noah was willing to be specific about those responsible for creative changes and management differences, while Geoff cannot really do that (though he’d argue that he was very happy with his film and has no real problem with the changes made), so in this podcast you’ll hear about Noah’s crackhead agent, the black hole of indie film known as IFC, and many, many other things. Part II is even more direct, as I constantly have to ask Noah if he wants what he’s saying on the record, since he names names. Look for that podcast in the coming weeks.

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By Adam Lippe

Whenever there’s a genre parody or ode to a specific era of films, such as Black Dynamite’s mocking of Blaxploitation films or Quentin Tarantino’s Death Proof, the second half of Grindhouse, the danger is that the film might fall into the trap of either being condescending without any particular insight, or so faithful that it becomes the very flawed thing it is emulating.

Black Dynamite has nothing new to say about Blaxploitation films, it just does a decent job of copying what an inept [...]

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Featured Quote (written by me)

On Cold Fish:

Though the 16 year old me described the 1994 weepie Angie, starring Geena Davis as a Brooklyn mother raising her new baby alone, as “maudlin and melodramatic,” Roger Ebert, during his TV review, referring to the multitude of soap-operaish problems piling up on the titular character, suggested that it was only in Hollywood where Angie would get a happy ending. “If they made this movie in France, Angie would have shot herself.”

Well Cold Fish was made in Japan, where Angie would have shot herself and that would have been the happy ending.