Filmmaking / Directing

Director Clint Bentley's film 'Train Dreams' has turned the forces of the Pacific Northwest into its main character. He talks everything about the film shot almost entirely in natural light! It's now an awards contender, winning a Critics Choice Award and landing on the Oscar shortlist for its cinematography and score.

Read the interview here! https://deadline.com/2026/01/train-dreams-video-interview-director-cinem...

Hey everyone!

I'm looking for your perspective.

As many of us are in the Indie world, I am an Actor, Writer, Director, and Producer. I am currently in preproduction on a short passion project that has been in my head for 40 years. I wrote it, am Producing it, and will be Directing as well.

As many of us are ADHD, like I am, I am wondering if you ever feel that something BIG is slipping through the cracks. It's only happened once in my Community College days and hasn't happened since but the feeling is there. I dropped something. But I don't know what.

Have any of you felt this way during preproduction? If so, what did you do about it? Details would be wonderful! Thanks!

This “formula” illustrates how the process of research can transform ignorance into knowledge by seeking out information, studying, and analyzing data so you can convert previously unknown facts or concepts into understood ones. Essentially, research is the method by which you gain new knowledge, turning uncertainties into certainties.

In filmmaking, research is the process of gathering and analyzing information to inform and improve the storytelling, visual style, and authenticity of a film. This includes studying historical context, character backgrounds, cultural details, locations, and technical aspects to ensure the story is compelling and accurate.

Directors and writers also rely on research to create realistic dialogue, authentic settings, and believable character cations. The depth of research can elevate a film's quality by ensuring that every detail, from costume design to historical accuracy, contributes to the believability of the story.

1. Character Backgrounds: Writers and directors research psychological profiles, biographies and conduct interviews to develop multi-dimensional characters. This helps actors portray their roles convincingly, allowing the audience to connect with the characters. The character development in "Joker" was influenced by studies on mental illness and societal impacts.

2. Cultural Details: Filmmakers work with cultural consultants and immerse themselves in the customs, language, and traditions of the culture they are portraying. This ensures respectful and accurate representation, enhancing the story's credibility. Films like "Black Panther" and "Coco" are celebrated for their cultural authenticity.

3. Historical Context: Filmmakers study the period's fashion, architecture, social norms, and significant events to ensure period accuracy. This enriches the story by embedding it in a realistic setting. Both "Saving Private Ryan" and "Schindler's List" involved extensive research to depict World War II accurately.

4. Location Scouting: Research includes understanding the geographical and environmental specifics of filming locations, such as climate, architecture, and local dialects. Accurate portrayal of locations helps in visual authenticity and logistical planning for shoots. "The Revenant" involved extensive scouting to find remote and harsh environments that would authentically represent the 1820s American wilderness.

5. Technical Research: Technical research covers advancements in technology, special effects, and equipment. Understanding technical requirements can significantly impact the film's visual style and production quality. Movies like "Avatar" and "The Matrix" pushed the boundaries of technology through extensive research and development.

Through this detailed research, directors deepen their understanding and enrich their creative decisions, ultimately crafting a more believable cinematic experience. This process enhances the story and ensures the film rings true for its intended audience.

Research also allows filmmakers to portray diverse cultures and stories with respect and accuracy, creating a deeper connection with audiences worldwide. By gaining insight into the complexities of different historical periods or social contexts, filmmakers can avoid common stereotypes and clichés, offering a more nuanced portrayal of characters and settings.

NEXT ARTICLE: Pre-Production as a “Process of Discovery” (OVERVIEW)

Hey Filmmaking Lounge,

This week, my creative growth looks a lot like what many of you are probably feeling right now: pushing myself to network, even when it feels uncomfortable.

Networking is something I do regularly, but that doesn’t mean it ever stops being a little intimidating. Reaching out to new contacts, strengthening relationships with people I admire, and showing up socially when I already feel stretched or drained still takes real effort. Confidence doesn’t erase vulnerability, it just teaches you how to move forward alongside it.

The start of a new year feels like the perfect moment to lean into that discomfort instead of avoiding it. There’s something energizing about saying, “Okay, I’m in,” and jumping back in with both feet. So that’s what I’m doing. I’m sending the emails I’ve been putting off, responding to DMs, sending new network requests, and intentionally taking the time to get to know people better. Not in a transactional way, but in the way that actually builds meaningful, long-term relationships.

It’s easy to underestimate how impactful this kind of work is because it doesn’t always produce immediate results. But connection-building is some of the most important career work we can do as creatives. Opportunities don’t usually come from cold submissions. They come from trust, familiarity, shared values, common interests, and showing up consistently over time.

I believe deeply in practicing what I preach, so I’m right here doing this alongside you.

So let’s check in:

Where are you pushing yourself outside your comfort zone right now?

Does networking energize you, drain you, or a little of both?

What’s one small outreach or connection you could make this week that future-you would be grateful for?

Cheering you on as we all step into this new year with intention and courage.

The 'Marty Supreme' & 'Hamnet' directors discuss working with their actors, Timothée Chalamet, Paul Mescal & Jessie Buckley. They also discuss how Josh Safdie famously casts his incredible extras, how Chloé uses color throughout her films and what it's like being definers of 'New Age' Cinema.

(https://www.youtube.com/watch?v=Xn1o29uZFC4)

We’ve launched a powerful new batch of Open Writing Assignments (OWAs) for 2026, with a strong focus on theatrically-driven genre films and inspiring true stories. Leading the charge are studio executives seeking distinctive, voice-driven projects designed for the big screen.

These opportunities are now open for submissions, with deadlines at the end of the month.

Here’s what the industry is looking for right now:

For Theatrical, Voice-Driven Genre Films (Under $20M)

A Studio SVP/Creative Executive is actively seeking three distinct types of films, all with a clear theatrical vision:

- Grounded Sci-Fi in the vein of Ex Machina, Mickey 17, and Megan 2.0.

- High-Concept Thrillers comparable to The Housemaid, Black Bag, and Lurker.

- Clear-Concept Horror with the impact of Smile, A Quiet Place, and Trap.

The key requirement across all: The concept must feel distinct, and/or the writer's voice must be so strong it stands apart.

For Powerful True Stories & Historical Dramas

- A Producer seeks stories of individual courage and small acts of resistance, with a primary interest in POW narratives. Preference is for WWII-era settings, but compelling stories from any period—including contemporary—will be considered. Think Unbroken, Nr. 24, and The Railway Man.

- Another Producer seeks inspiring stories about fighting for survival, truth, and freedom. True stories are preferred, but fiction with the resonance of Promised Land, Children of Men, or The Revenant will be considered.

For Character-Driven Romance

- An Acquisitions Executive seeks character-driven romance features with budgets under $10M, in the style of People We Meet on Vacation, Her, and Call Me By Your Name.

If you have a project with a strong, distinctive voice or a compelling true story, this is your direct opportunity to reach studio-level decision-makers.

Submit Today: https://www.stage32.com/writers-room

(https://www.youtube.com/watch?v=jsQSsIlWwnI)

Jonah Feingold spent the last decade navigating the film industry—from interning at Indy Mogul and Buzzfeed to directing features for Paramount+ and Amazon. But the landscape in 2026 is completely different than it was even five years ago.

In this video, he shares the honest advice he wishes someone had told him. We’re talking about why the $200k independent film model might be broken, the financial reality of being a working director (and why you shouldn't quit your day job), and why he's pivoting back to YouTube to release my latest "filmettes."

(https://www.youtube.com/watch?v=_2vpmTLQwUY)

I wish you all the very best for 2026 !

We all carry strong ideas within us—whether they take the form of scripts, filmmaking visions, or thrilling music. May this year give them the space and momentum they deserve.

Let’s raise cinema to the highest level together.

Warm regards,

Julien

The Definition of Reductionism from Oxford Languages is “the practice of analyzing and describing a complex phenomenon in terms of phenomena that are held to represent a simpler or more fundamental level, especially when this is said to provide a sufficient explanation.” (Ouch! Too heavy)

From Wikipedia: Reductionism can either mean a) an approach to understanding the nature of complex things by reducing them to the interactions of their parts, or to simpler or more fundamental things or (b) a philosophical position that a complex system is nothing but the sum of its parts, and that an account of it can be reduced to accounts of individual constituents. (Too many words)

ChatGPT defines Reductionism as “a philosophical and scientific approach that seeks to explain complex phenomena by reducing them to simpler, more fundamental components. It involves breaking down complex systems or concepts into their constituent parts in order to better understand and explain them.” (Okay. Getting better)

The Merriam-Webster dictionary defines Reductionism as “a procedure or theory that reduces complex data and phenomena to simple terms.” (PERFECT!!!)

Now here is MY simplified definition of Reductionism: “any complex system or concept can be better understood by taking its pieces apart, studying them and then putting them back together so you can see the larger picture.” :)

NOTE: Reductionism is what we use every day to help us figure out many things - not just in the “reel world” but in the “real world” as well! (Remember the first time you drove a car, used a computer, turned on your phone or made a cake.)

For our purposes as filmmakers, the Reductionism Breakdown System is "the process of reducing a script, budget or schedule down to its smallest individual elements by going from large to small, from general to specific.”

This Reductionism Breakdown System allows the director to better understand the structure and flow of the script, visualize the story by making creative decisions and help plan the shooting schedule and logistics.

For directors, the following is a “simplified” order of a Reductionism Breakdown System from the First Reading of the script to the First Shot on set emphasizing how each script element contributes to the overall storytelling process.

1. The SCRIPT is read and analyzed to understand the overall story, tone, themes, plot points, and characters. This comprehensive analysis helps the director to structure their vision with the story’s core elements.

2. The script is then divided into ACTS, which are major sections of the story that have their own story arc and climax. This division aids in structuring the film and planning the shooting schedule more effectively.

3. Each act is further divided into SEQUENCES, which are smaller sections of the story that also have their own story arc and climax. Sequences help to maintain the flow of events and contribute to the overall storyline.

4. Each sequence is divided into SCENES, which are individual units of action that take place in a specific location and time. Scenes are the building blocks that drive the story forward and reveal characters.

5. Each scene is then divided into BEATS, which are smaller moments within a scene that mark a shift in tone, emotion, or action. Beats help in pacing the scene and highlighting key emotional or plot points.

6. Each scene is then further divided into SHOTS, which are individual camera setups that capture specific actions within a scene to convey the story information and communicate the desired message and mood.

7. Each shot requires multiple TAKES to achieve the desired result. Multiple takes allow the director to capture different nuances of performance and technical perfection, providing more options during the editing process.

NOTE: Every department on a film uses this Breakdown System. The Producer/PM creates budgets; the Director analyzes the script and creates shot lists; the First AD designs the shooting schedule; the DOP organizes equipment lists, the Gaffer designs the lighting plan; the Caterers create menus etc.

Using the Reductionism Breakdown System, you can see how all the parts of a film can be broken down systematically into their smallest element. This process of reducing everything down to its smallest detail is crucial in the filmmaking process. It enables you to focus on just one item at a time instead of trying to conceptualize the whole production at once!

PERSONAL STORY: Here’s a good personal example of the Reductionism Breakdown System.

When I got the job as the First Assistant Director on the movie “Bird on a Wire" I was overwhelmed by the creative and technical logistics of this big action/comedy. (This was only my second feature film!) Plus, I was a little nervous working with such an established director as John Badham!

I honestly wondered how I could prepare such a demanding film with two major Hollywood stars (Mel Gibson & Goldie Hawn), lots of stunt action with many locations spread over two cities. BUT... after two months of prep, I was totally prepared for our first day of shooting!

What happened initially was that I was overwhelmed on my first readthrough of the script because I could only see the “magnitude” of the film as a whole. I was just looking ahead to the end result with no idea of how to get there! But once I started to REDUCE the script and schedule into more manageable elements, it became clearer and clearer each day on how to proceed.

NEXT ARTICLE: Things You Don’t Know + Research = Things You Know

There’s a lot of noise right now around “fully AI-generated films.” I think that misses the more interesting , and much closer reality.

The most viable near-term model isn’t no actors.

It’s one or two central human actors, with AI handling everything else.

Here’s why this hybrid approach works:

• A single real performance anchors emotional truth.

Audiences subconsciously lock onto breath, timing, micro-expression. Once that anchor exists, AI-generated environments and supporting characters become far more acceptable.

• It collapses the hardest AI problems.

Multi-actor blocking, group dialogue timing, long-range emotional coherence, most of these vanish when the human performance is the spine of the film.

• Scope decouples from budget.

AI can generate locations, weather, extras, camera moves, and post-production without a traditional VFX pipeline. You shoot the actor once, then build the world around them.

• It preserves acting as a premium skill.

Rather than replacing actors, it concentrates value. Fewer roles, but more weight. Performance becomes the watermark of authenticity.

This isn’t theoretical. With a locked script, this model is already technically achievable today, and commercially viable within the next 12–24 months, especially for contained thrillers, sci-fi, horror, and character-driven dramas.

I suspect the first mainstream “AI-native” features won’t announce themselves as AI films at all. They’ll just look like ambitious indie features with suspiciously large worlds and suspiciously small crews.

I'm curious how others here see this playing out, especially writers, directors, and actors.

Is this a threat, a tool, or the next normal?