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

By Adam Lippe

“To get the movie made, sometimes you have to misrepresent it.” – Noah Buschel

Here is part II with writer/director Noah Buschel, where we go into further detail about his struggles making independent films, especially with The 7th Floor, who co-produced The Missing Person. While part I (which you can listen to here) was a complex overview of how to deal with agents and producers, here he’s very specific about who screwed him over in terms of production and distribution of The Missing Person. I’ve really cut out the fat here, you may think a 2 minute detour about Neil LaBute is extraneous, but LaBute is a great comparison to Buschel himself, as someone who started autonomously, with two highly independent films (In the Company of Men and Your Friends and Neighbors), and how success affected his decision making (and what I said during the podcast about Carrie Rickey is true).

And Noah, to his credit, does admit his films are not ones that get people excited, but we never quite get a straight answer about why a small distributor would buy your finished film, not collaborate with you, and then decide that there’s no market for the movie.

P.S. Noah provided his own photo for this second part of the podcast, as he saw himself as a rambling hobo throughout part I.

Download the full interview.
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1 comment on “A podcast with director Noah Buschel about the dangers of indie filmmaking: Part II”

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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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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.