Low budgets and fast schedules are prevalent in the world of independent filmmaking. Today hear about both of those things as we speak with Noam Kroll, who made a truly independent micro-budget feature in just 9 days. Learn some of the lessons and takeaways from his film Psychosynthesis.
Steven Pierce: So Noam, Psychosynthesis deals with the thriller sort of genre, where the main character gets a heart transplant and starts to take on the characteristics of the donor. So what is it that you want people to take away from the film if they’ve watched it?
Noam Kroll: Well, I think ideally what I want people to take away is just the emotional impact of the film. It’s really, obviously, it’s a narrative feature and there is a story that you’re following, but it’s really a mood film at its core. It’s very much an art film. There’s a lot of texture and sort of nuance to the way that we shot the film and scored the film. And I don’t know, some of my favorite films I walk away from and I’m not always just left thinking about the plot, but I’ll walk away kind of thinking about the emotion that maybe it’s stirred up or the feeling. And that’s kind of, I think, what we were going for in this film. So I hope that when people watch it, they learn maybe a little bit about this condition that we’ve obviously exaggerated greatly, it’s called cellular memory. And in real life, it’s something that people experience when they get a heart transplant or other organ transplants and they kind of feel this connection to their donors. So we obviously want to explore that and to kind of shed some light on that in this fun way where we go into genre territory. But it’s really more about just the experience going on this sort of hopefully emotional ride with the characters and walking away feeling like maybe you’ve experienced a tone or mood or almost like when you’re listening to a piece of music or something that just kind of sits with you after, if that makes sense.
Steven Pierce: Yeah, no, absolutely. Absolutely. So how did you come about and what was your background that made you want to move in to make a make films in the first place?
Noam Kroll: I think I’ve always sort of wanted to make films and I’ve always really just made films for fun dating back to just being a kid with the parent’s Handycam or whatever, like many filmmakers. I think basically I just transitioned into filmmaking more full time pretty organically. There was never really a moment where I sat down and said I have to make movies or I have to do this or I have to start a production company or any of the things that I ended up doing. It really just sort of happened organically because that’s really just what I like doing. And as soon as I realized at a certain point that you could actually make a living working on films, then I started looking for opportunities because when I was younger, I always just thought it would be a hobby. And then eventually when you realized that you can make some sort of career out of it, because I didn’t know anyone growing up that worked in film or entertainment or anything, so I just didn’t think it was possible. So I think that for me, that was probably like the biggest turning point in almost taking it a little bit more seriously.
Steven Pierce: I read on your site, which by the way, I really appreciate your website. I think it’s very cool. You have a great resource that’s all set up. It’s NoamKroll.com, right?
Noam Kroll: Thank you. I appreciate it. Yeah. And we’re actually going to relaunch it, so I’m doing all the design stuff today. So probably by the time you post this, there’ll be a nice, fresh design up there with a lot more resources and easier to find a lot of the content that’s up there. But really glad that you’re enjoying it so far.
Steven Pierce: Yeah, no, I really liked digging through it. It was very thorough. I mean, you went through and you really brought a lot of information to the forefront about the process of making the movie and very honest about how it worked. Because this is a micro budget feature, so you guys worked, it seemed very, very hand in hand. Lots of people doing lots of things in a very short amount of time.
Noam Kroll: Exactly. Yeah. That’s pretty much usually, I guess, the case on this scale budget. The total budget was roughly $25,000. We raised 15 or so on Seed&Spark who did this crowd funding campaign and then I put in the other 10 just from some cash that I threw into the pot to kind of allow us to really not have to cut any corners in terms of locations, because obviously 15,000 is a very little amount. So it was 25 but that extra chunk really sort of allowed us to bring on a couple more crew members and do a couple of things that we wouldn’t have been able to do otherwise. So yeah, you’re totally right though. Everyone wore a lot of hats. Our crew in total was I believe on most days like eight or nine people and we were essentially doing the work of a 20 or 30 person crew, which also is small by some people’s standards. But yeah, we had to keep it really, really small but we got it done, I guess, in the end and definitely learned a lot along the way for sure.
Steven Pierce: Yeah, absolutely. And just to check a couple of boxes here. So at that budget level, the crew is absolutely non-union right.
Noam Kroll: Yeah, crew is 100 percent non-union.
Steven Pierce: Yeah, did you use SAG and AFTRA actors or did you go non-union for that as well?
Noam Kroll: No, we actually did go SAG for the actors. And that was partly because I also… Like you guys have a production company. We’re signatory with SAG because we’ve done other SAG productions. My last feature before this was SAG and then other jobs as well. So I already sort of had gone through the ringer a little bit. I knew what to expect. They had a lot of my info and everything on file already, so it wasn’t really like starting from ground zero. The other thing was with SAG especially, here in LA, so many actors are SAG, even actors that aren’t super well established yet. So if you just want to increase the amount of talent that you have access to, then that’s usually a good idea. And they have an agreement now called New Media, which we went under because if you’re not planning on doing a theatrical component right off the bat, then you can go in under New Media, which makes it a lot easier as far as paperwork and logistics and all that kind of stuff.
Steven Pierce: Yeah, absolutely. Yeah. We’ve done New Media contracts several times before for projects that we’ve done that were very similar. Like usually we’ve never done a feature film length, but we’ve done short films and also some more even like the late night episode ventures and stuff like that.
Noam Kroll: Sure. Yeah.
Steven Pierce: So talk a little bit about Seed&Spark and raising that money because that is a whole, I think a lot of people end up doing that route with their first films, especially short films and all that and it’s not as straightforward as you would think.
Noam Kroll: No, it’s not. And I’m glad you brought that up because one of the things I always try to tell other filmmakers, and people had told me this before I ever did a crowdfunding and I still did it knowing this, and it’s not to deter anybody, but the amount of work and effort that goes into crowdfunding is really massive. And even for someone like myself, where I’d spent quite a few years prior to this film writing on my blog and building up an email list and having this sort of small little community that I’ve built that has been really supportive of my work and I’m super grateful for it. And I had assumed, okay, that maybe is going to give me a little bit of a headstart when it comes time to crowdfunding because at least I know I already have some people who are interested in what I’m doing. Maybe they could help spread the word.
Noam Kroll: It definitely did help, but it was still a huge struggle even just to raise the 15,000 bucks or whatever it was that we were aiming for because it’s just a different ecosystem. If you’re on-
Steven Pierce: Right.
Noam Kroll: Whether it’s Seed&Spark or Kickstarter or whatever, you’re kind of starting from scratch. It’s almost like opening up a new social media profile or something and you don’t have any followers yet. You’re kind of just starting to learn the lay of the land and you have to do all of that so quickly because your campaign may only run for 30 or 45 days. The other huge thing is it’s going to take a month to two months to probably set up all of your assets and gather all this stuff you need for the campaign. Then eventually you’re going to have to deliver all the perks, so if people order a DVD or whatever to deliver all that. So I wrote, I think, a newsletter on this recently but if you actually break it down, it might take you five, six, seven months of work to raise the $10,000, $20,000 you’re trying to raise. So not to say you shouldn’t do it, but depending on your financial situation, your working situation, you might just be able to save that money in that amount of time or take on a side gig or whatever. So I definitely wouldn’t recommend it for everybody because it’s not as simple as it probably appears to be but it’s certainly a great option to explore and there are a lot of benefits too.
Steven Pierce: Right. Absolutely. I’ve still not… We’ve never done a crowdfunding, but the things I do know of people that have done it, it is a shitload of leg work. Like it is a lot of hustle. So do you remember what your average donor was? I’m just curious because you’re pretty small chunks, right? They’re coming in super small amounts of money.
Noam Kroll: Yes. They were all… I don’t know if I ever calculated the exact average. It probably would have been thrown off because we had one individual, Ryan McCarvel, who came in as an executive producer. So he actually bought the $5,000 EP perk, so that would tip the scales a little bit. But that aside, the other, I’d say, probably a hundred bucks was average. So a lot of people were putting in $25 or $50 then you get a few people putting in 200 or 250. So I’d say the average person probably, if I had to guess, would probably come in around a hundred dollars. So that’s a good way to sort of work backwards from there if that’s your number or if you want to be conservative and you save and let’s say you’re assuming you’re getting $50 per person, you’re raising $10,000 or whatever, it’s pretty easy to kind of do the math and see, all right, how many people do I need to actually see this campaign? If my conversion rate is like 2%, how many people…? You can sort of do the math and figure out how much traffic you need in order to get the amount of money that you’re trying to raise.
Steven Pierce: Yeah, and those platforms, usually they take a percentage as well so you have to go kind of shoot a little above it if you’re trying to get exactly that and you need that actual cash.
Noam Kroll: Exactly. One of the good things that Seed&Spark does when your donors are paying for, or your supporters or whatever, the contributors I think they call them on the site, when they’re making a contribution, they get the option upon checkout to pay for the fee that you would be paying. And most people, I think, actually did that or at least like half or something like that on ours. Again, it’s going back a couple of years now so I don’t have all the numbers, but I was pretty surprised at how many people just covered that because they’re already sort of feeling generous, they want to support the project and to throw in the extra few bucks, I guess it’s something that a lot of people want to do, which is great that Seed&Spark allows them to do so.
Steven Pierce: Yeah. That’s a super cool feature. I didn’t know they did that, but that’s great. Talking about your overall format and how you decided to shoot it, because you went for kind of… Normally people, when they’re going for feature films, are trying to either push to get anamorphic or going in, you kind of almost went the other way. You went four by three.
Noam Kroll: Yeah. And it’s so funny because like when we did it, I thought nobody’s really doing four by three. I think there was one movie that year and now I can’t even remember what it was. I know mid 90s was four by three. That would have been maybe after we shot, I can’t remember the timeline now, but there were one or two movies that had done it and I thought it was really cool. And that wasn’t really why I wanted to do it. It Was more so because I’d been watching all these really old films sort of as references like these old Ingmar Bergman films and Persona was a big reference for the movie. And I just sort of… I’ve always loved that four by three framing. I always thought it’s such a great way to frame someone’s face and for a micro-budget film where it’s so contained, it actually even just helps you on a practical level because you’re not quite as wide. So if you’re shooting in tighter spaces, you can probably get away with some more stuff there. But it’s funny now because I guess everyone sort of had the same idea. Now there are so many movies coming out that are four by three and TV shows and everyone’s sort of breaking the aspect ratio, it seems, this year. So yeah, it was kind of… I think for me when we did it, the biggest incentive, other than just some of the practical things that have maybe helped us with, was it put us in this very creative mindset because all of us on set, whether it was myself, the DP Mateo, or any of the rest of the team, that camera team, we’re all used to shooting two three five for everything. But I essentially forcing the team to work in this weird, like canvas, it just… It almost was liberating from the beginning creatively because we all just said, okay, now this is an art film. We’ve baked that into the way that we’re shooting the film so we can feel free to experiment. We can feel free to sort of like try stuff. Some of it might work. Some of it might not. But it just, I don’t know how to quite describe it other than it just set the tone for us being willing to take weird chances and risks and see where it went. And I think in the end, that choice really tied together a lot of the other visuals that we were attempting in, I think, a nice way and made it feel more congruent maybe visually.
Steven Pierce: Yeah, absolutely. One thing I read, No Film School did an article on you guys and the film and it mentioned in there that you got a Duplass Brothers Grant.
Noam Kroll: Yeah.
Steven Pierce: How did that go and what was it like pitching through Seed&Sparks? How was that pitching? How did that work pitching for that?
Noam Kroll: Yeah, so basically I’m trying to remember exactly the step . So what happened was originally, we were just going to run our standard Seed&Spark campaign and then they were doing something at the time that I think they still do, which is called a crowdfunding rally. And they’ll basically do a competition with all of the different films that are raising money that month and they award people different prizes based on their performance. So it just so happened that when we were doing our campaign, we were up for this hometown heroes rally. It was right in that time. And we said, okay, we’ll take part in it. Why not? Even if we don’t get anything from it, we have nothing to lose, but potentially there is an upside if we win some of the perks.
Steven Pierce: Of course, yeah.
Noam Kroll: Basically we go through the process, and I think in order to even pitch to the Duplass Brothers, you have to get a thousand followers on Seed&Spark. So that’s sort of the first hurdle. So that’s what we did. I remember even running Facebook ads and stuff like that to get some extra followers and it worked. So we got followers that qualified us, and then you create a pitch video, which our pitch was I originally was thinking of maybe shooting this on film if we could get the full grant. They were doing up to $50,000 grant. So I said if we get 50,000, I have an SR2, I’ve shot 16 before, I can get the film stock and process it. So we shot this pitch video on eight millimeter film and cut it together and sent it in through Seed&Spark. And then that got us through, I guess, the next level. And then they asked to read the script. So then I sent them the script, which was pretty close to our final version. And then I guess they read that and then we were qualified. So they gave five people a grant, just a smaller grant, which is the one we got. And they gave one, which was, I can’t remember the name of the film now, but it looked like a really cool film that they awarded a larger grant to. And I honestly felt lucky we got anything because the whole thing with, they called the hometown heroes rally because it was all about getting people in their hometowns, presumably like smaller towns, smaller markets, to make films within their own communities. And they really wanted to support those people. And I’m based in LA where I don’t know if that fully fits with that mandate. It’s kind of the exact opposite, but I don’t know, I guess the project maybe struck a chord and we got lucky and got a few bucks. So that was a really nice sort of launching off point for us.
Steven Pierce: Yeah, absolutely. I mean, being able to just put their name on it in any way or another helps for sure and that’s a very cool thing.
Noam Kroll: It’s nice. I mean, I’ve watched so many of their films and a lot of them just in terms of the way they’ve made the films, Blue Jay in particular, I don’t know if you’ve ever seen that one, but I really loved that movie and how it was made and was very improvised. And I think it was all done with a scriptment and so it was cool. It was definitely sort of… it wasn’t really about the money at all because it was a small amount. It was just more… It was nice for our team to sort of know they’ve seen the project, we sent them the script, we sent them all this other stuff and for whatever reason, they seem to want to support the project. So we were happy with that, for sure.
Steven Pierce: So what really sticks out to me about everything you’ve spoken about and everything you put out about the project is the timeframe, because I think the timeframe is rather extreme. I wouldn’t say… I hope that doesn’t sound like in a negative way. I’m just really impressed how you guys did this. So talk to me a little bit about your production schedule and your post schedule.
Noam Kroll: Yeah, well, the timeframe was… It’s funny because it was more extreme on the production end than post because production, we shot everything in nine days. We didn’t do any pickups or reshoots or anything like that. And then the post took a long time. I did do a really fast edit initially, but then it essentially took us close to a year and a half to actually finish the entire movie just because of a variety of factors that we could get into. But yeah, production, I did this other micro budget feature a couple of years ago called Shadows On The Road and we shot in a very different way. It was I wouldn’t say improvised, but we were kind of figuring it out as we went. We had a rough schedule, but I remember there were nights where I would come home at three in the morning. I remember once, or something like that, from shooting really late. And everybody is so tired and we have to go shoot the next scene the next morning and we literally didn’t have a location because it was all like guerrilla style. And there were three of us or four of us a lot of the days, so it was just total chaos. And in the end that shoot ended up being, I think, 15 days with all the pickups that we did. But what I realized is most of those days, if they were just planned better, I could have shot everything that I actually captured for that movie probably in five or six days, which sounds crazy.
But sometimes we just didn’t shoot enough material or we weren’t being as efficient as we could have been on set. So this time around, I thought I have two options. I can either do the improv sort of route again and try to see what we get or I can almost treat it more like a larger production, but just scale it down. And I hadn’t really done that before. I’ve had a lot of larger commercial productions that I produced or directed but on a feature level, anything that I’d ever worked on narrative, it was always very kind of we were flying by the seat of our pants. So anyway, we ended up doing, yes, so we did nine days. And the way that I think the number one thing that helped us in terms of actually getting to the finish line was just the prep work. So we did a ton of discussions with Mateo, our DP, just all about the lighting and the framing and we did pre-lighting days.
We did rehearsals, we did wardrobe. All the usual stuff that you would do on a proper film, we did on this tiny little movie. And the script was under 90 pages, so that meant we were shooting 10 pages a day. We’d never had any company moves, so we were in just one of two locations. So for me, I felt like shooting 10 pages a day was manageable so long as we put in enough prep beforehand. And in the end, there were a couple of things I wish that we got that we didn’t, but those were kind of the exception. I feel like for the most part, we actually were able to capture almost everything that we set out for, even within that timeframe, which was great.
Steven Pierce: Yeah. And it’s primarily based, I mean, the whole film’s based in two locations.
Noam Kroll: Exactly. Yeah, that’s it. So there are two houses and we were either shooting in house one or house two. There was three or four exteriors in the whole movie that we sort of stole just guerilla stuff on driving around or whatever, but everything else was just in the houses.
Steven Pierce: Totally. So were you able to leverage relationships from your commercial work and your other work outside of that to help you pull this off in such a short way and on such a budget?
Noam Kroll: The biggest thing that helped me from the commercial side, honestly, was just the financial aspect of it because I recently had bought an Alexa four by three plus, which is, I bought it from the CPO, it’s like a certified pre-owned program. And I bought that through my production company, had a lot of recent commercial productions that I’ve been able to save a little bit of money from, so I think the biggest help from the commercial side was that I was able to sort of put some money into the project, buy some gear beforehand that we could use on the project. And then there were a couple of crew members, like our makeup artist, Hailey Brengal, who’s awesome. She does all the corporate and commercial stuff that I do. So on those projects, obviously, we’re paying her a much better rate, so I was able to call in a favor on this one. Same with our sound recorder Scott Vanderbilt, who cut me a great deal. So there were definitely those cases, but for the most part, I’d say most of our team I hadn’t actually worked with before. So it was a bit of a gamble going into it, but I got really lucky that everyone kind of really brought their A game and just knocked it out of the park even though I hadn’t had so much experience with all of them before.
Steven Pierce: Totally. So you shot on the Alexa and what lenses did you use and what was your primary lighting like?
Noam Kroll: Yeah, so the lenses were the Angenieux Optimo Zooms. So I can’t remember the exact zoom range, but I think one is something like 18 to 40 and the other is 40 to 80 or 50 to 80 or something like that.
Steven Pierce: The EZ Optimos?
Noam Kroll: EZ, yes.
Steven Pierce: Got you. Yeah, I know what you’re talking about. Yeah, I think it’s like 16 to 42 or 15 to 40 or something and 40 to 70 or something like that.
Noam Kroll: Exactly. Yeah. That combo. So we just shot the whole movie on those two lenses. And the reason we went Zooms was that was sort of baked into the idea from the get-go because there were going to be a lot of optical zooms in camera. I wanted… The main character, Alice, has this condition with her heart. She wasn’t able really to move without having trouble breathing prior. This is all in the backstory of the movie. So my idea originally just creatively was that we should try to find a way to sort of tie the camera movement or lack of movement to her character. And I don’t know if people would see that or not, or feel that or not, but it was just a good rule for us to work from. So it kind of, right off the bat, we can say, okay, we don’t need a steady cam. We don’t need a dolly. Let’s just almost pretend that this camera can’t move and then work within that limitation to see what sort of creativity that it will spark. And one of the things that came out of that was the use of zoom lenses. So the only two things I really said, I mean, I guess the three things I probably said to Mateo early on, our DP, about the process was I said I want it to be four by three. I really want to go for very soft sort of moody lighting, looking vintage, like more 60s 70s kind of feel. And then… what was the third thing? Framing, lighting, oh yeah, and then the zoom. So we wanted to push in on this character to kind of, again, use that four by three frame to really get in as tight as we could on the faces and just do some fun stuff in camera, because if you’re on the sticks the whole time, it can get a little bit dry and feel like you can start craving a little bit more visual momentum. So those were kind of the three rules that we had and then as far as lighting went, I think Mateo primarily used light mats so I’m sure a lot of people listening are super familiar with those. They’re great LED panels, super versatile and light, easy to use. So those, we had a China ball, we had a 2K, we had some little quasar tubes, and that was basically it. We used a lot of practicals, just lamps and things like that in the shots. And most of the scenes were probably lit with two lights or maybe three lights at the most.
Steven Pierce: Yeah. I love shooting that way with a lot of practicals, very open and it allows you to move really quickly, like in change and turnover, which is really what’s key.
Noam Kroll: A hundred percent. Yeah. And for us, it was also a logistical thing because the houses we were shooting were so small that… And we had, like you said, we had to turnaround so quickly. So there was almost nowhere to even put gears, so that’s why light mats and things like that were so helpful because they were just where they were and then we can just walk them over to the next room. And we weren’t having to unpack an entire room that was stacked with cases and lights and stands and everything. So that helped us for sure logistically.
Steven Pierce: Yeah, absolutely. I mean, that’s where it helps being somewhere outside of New York, because we’ve done those shoots in New York like on narrative ones and you’re literally behind the camera is all the people and stacks of cases and then you’re like, all right, guys, now we got to look this way. And everybody sights, swipes sweat off their forehead and then starts moving shit to the hallway.
Noam Kroll: Oh my God. Yeah. In New York, I can only imagine just the size of some of the rooms that I’ve stayed in or I’ve seen there. To think about doing a production, it’s crazy. But again, that’s where those light mats, or even those quasars come in. Those things were so helpful. We would stick them all over the place and they would just act as an eyelight or a little splash some light on the background somewhere where we weren’t getting any exposure. And they’re tiny. They’re eight inch or 12 inch.
Steven Pierce: Exactly.
Noam Kroll: Lights. So anyway, yeah, those were kind of my highlight because I hadn’t used those much before this shoot.
Steven Pierce: So what overall… what do you think your overall takeaways are in the lessons you learned from making the film?
Noam Kroll: I think the lessons that I learned… I mean, there’s sort of, I guess, a couple of ways I can answer that. There’s like the more universal stuff and then maybe what applies to me personally.
Steven Pierce: Yeah, absolutely.
Noam Kroll: But I’ll go universal first. So I think what I learned is that it really reinforced the importance of planning and prep because what I was able to capture, I think, in nine days versus 15 days on the last feature, I felt like I had way more material, better material. Not to say anything is perfect. There’s certainly things I could do differently or improve on if I were to go back now in hindsight, but I really genuinely felt like we really did maximize all the time that we had on set. And I think that was reinforced by just kind of looking back at the footage, I guess, and seeing there weren’t that many hours in an average day when we were, or even minutes in an average day when we weren’t shooting. So I think that was huge. I think one thing I learned just on I think probably a script level, when you’re working with a film that’s this short, our final runtime is 71, 72 minutes and our first cut was probably 90 or 85 or whatever. Most films wind up at 90 minutes, but the first cut is probably, I don’t know, two. Exactly. Which just so much material. So the biggest challenge when you’re shooting in nine days is there’s so little room for error. It’s almost like you’re shooting, to use an analogy on reversal film where you have to nail the exposure, it’s like you have to nail everything you’re doing in nine days because if you do everything right, then you’re still going to have to cut scenes in the edit. Everyone always does. Or you’re still going to have to trim things.
And just with pacing and whatever, you’re probably going to lose, let’s say, 10 percent, at least of your film and the edit may be 20 percent. So knowing that, I think going into a future film if I were to do another, like if I were to do this film again tomorrow, I might like add two days. It sounds like nothing, but just to give yourself that little buffe. Give yourself 10 percent or 20 percent more than you think you’ll need, because you are almost guaranteed to lose that. And the material, you could be so solid on it on the page, you can be reading it and you’re like, yeah, this is great. This seems a hundred percent working. Some of the scenes I was most set on in the script literally aren’t even in the movie anymore. So when I look back on it and I think in total, there was probably a day and a half of material that we shot over the course of the nine days that just didn’t make it in the film. So imagine what we could have done if we had that day and a half back or if we were shooting something else in that time. So it’s all about just making sure the script is as bulletproof as possible before you go into the shoot. I think we did a good job with it and we got really far, but again, there’s always that extra 10 percent you can take it. And then I think then when you’re on set, just making sure that you don’t waste any time. Although we were shooting, like I said, most of the days all day, I didn’t feel like we had a lot of downtime we were wasting time to sitting around, there were still some scenes where in the first or second take, we had it and we shot six or seven just because we were there and because it’s digital and we could keep rolling.
And that’s one of the reasons I love film so much is because if you get it on the first take, then you just move on and it’s actually a lot more efficient. So I don’t know. I’m sort of throwing a lot at you, but I think just that overall efficiency is always something that I want to try to take away and improve upon because on these little micro budget productions, efficiency is kind of all you have. It makes her breaks it really.
Steven Pierce: Yeah, absolutely. No, I think the efficiency is you’re exactly right with film versus digital. I mean, I can’t tell you how many times you just toss in an extra couple takes just because you’re there, you’re set up, instead of being like, we got it, move to the next thing. Is there any other thoughts that you have about people making micro budget specifically? Like things that you’ve encountered while doing these that is like, this is going to save your ass.
Noam Kroll: You can tell a lot of stories, like even action films or thrillers that do have a lot of different set pieces and locations. That’s still totally possible on a micro budget and know that you can go both ways, like you can do a nine day feature like I did or you could do a 30 day feature with two or three friends and not spend a lot of money. But know that up front and then bake that into the script.
Steven Pierce: Definitely, definitely. I mean, and you cover… So much of this is covered with and you go pretty in-depth on your website and your podcast. They’re also very good. So if people want to come learn more about you, your process, and your company and check out all the materials you already have, where should they go?
Noam Kroll: So the hub of everything is just my blog, NoamKroll.com. So you guys can look that up. It’s just my name, Noam, N-O-A-M-K-R-O-L-L.com. And then on that site, it’ll link to my social media stuff, which you guys can follow. But also my podcast show, Don’t Tell, which I’m releasing one to two episodes a week unless I get super busy and I don’t do any. And then really my newsletter is the one thing that I’m really trying to push everybody hopefully to sign up for because I put more time now into this newsletter I sent on Sunday. I don’t really publish it anywhere else. Just on there once in a while, maybe I’ll repost on my blog, but I send original articles and content all about micro budget filmmaking exclusively to this newsletter.
Noam Kroll: And sometimes, like I just gave away a $2,700 camera package and BNH gift card and all this stuff. So I’ll do giveaways and stuff like that on there too. So if anyone wants to sign up, just go NoamKroll.com/newsletter. And then, yeah, I mean everything else is kind of connected to those channels.
Steven Pierce: Absolutely. And PSYCHOSYNTHESIS, your film, they can find on Amazon Prime.
Noam Kroll: Feel free to check it out and let me know what you think and if anyone has questions, I also have just a general email. If people have filmmaking questions or whatever about their projects just email@example.com. So that’s one more place you guys can find me.
IFG is created by Framework Productions and directed by James Allerdyce. It’s produced by Matt Mundy, edited by Audrey Rae McHale, and hosted by Steven Pierce. The music is by Glassboy. Find his music on Free Music Archive DOT org.