Can't wait to check them out! While people are doing that, since you're already going to have Prime open, consider checking out my first feature, Mr Misfortune https://www.amazon.com/dp/B0844Q84CD. It's a nano-budget neo-noir movie

These are great tips, Oakley! Before I set out to make my first feature, Mr Misfortune, I shot a bunch of short films. The main objective was to improve as a writer and director, but I also wanted to tweak the production methodology until I landed on the right crew/resource dynamics that would allow me to shoot a feature on a nano-budget (< $10,000). When I shot my fourth short, Natural Causes, that approach entailed me producing, directing, and shooting, with two additional crew members: a dedicated sound person and a hybrid AC/PA. Keeping the cast and crew small allowed us to make two company moves and get through an eight page script in less than 10 hours (including meal breaks). I decided to use the same setup for the feature (with the addition of an additional PA on one or two days that involved scenes with more than three cast members). A smaller team makes for a more agile production, which in turn enabled me to shoot my feature in 10 days. Everything was meticulously planned, and besides a few normal-caliber production obstacles that came up, it was a very smooth shoot. The movie is now available on Amazon. If you have $1.99 and want to support independent film, check it out! https://www.amazon.com/Mr-Misfortune-Michael-ONeal/dp/B084551GQK/ref=sr_...

Paul, thank you for articulating what I'm sure the majority of readers of the first post and/or this post are thinking.

First, congratulations to David Simpson on independently producing and directing Dangerous to Know. As someone who last year completed my first feature, I know how much work is involved. As someone who now has a completed feature, I also know how challenging it is to put on your marketer hat and start selling. It's a specific skill to become proficient in, and it's not always obvious what is required. To that point, I have some suggestions that are in line with what David West said.

An ounce of humility goes a long way. It's great that you're confident in your work, but overconfidence bordering on arrogance will turn people off from checking it out. That being said, it's critical not to sandbag it, either. Find the balance.

Play up what's original about it. In your article, I got a sense that you wanted to explore the styles of people that inspire you. That's great, but what's the unique ingredient you bring to this. Emphasizing that will help to reduce any possible impression that your movie is an exercise in copying someone else's style.

Passion for film/storytelling. I don't get this at all from the article. As much value as there is in hearing about the approaches you adopted to solve technical and logistical problems, there's nothing in the article that indicates a love of movies. What drove you to tell THIS story? Why should people take the time (and potentially spend the money) to watch it?

3,000 shots - why? I couldn't tell you how many shots are in my movie, and I don't know why you'd care. If it takes 1 shot or 1 million, what's the difference? The important thing is that you completed a movie (objectively a huge accomplishment) that you are passionate about (remains to be seen).

I hope you take this as constructive criticism, as it's absolutely delivered in the hopes of you expanding the reach and broadening the appeal of your movie. It's not easy for most people to deliver less than positive feedback, and I've learned that if they're willing to tell you something isn't quite right, it's best to listen and realize that element they've singled out might just be the tip of the iceberg in regards to the full extent of what might be wrong with the project, trailer, poster, etc.

Either way, congrats on making it.

Great post, George! I completely agree about failure being the best teacher and festivals not being the be all, end all in terms of a film's commercial prospects and potential to connect with the right audience. In my Voyage LA interview (http://voyagela.com/interview/meet-rick-caplan-rcap-media-llc-west-la/), I talk about a lot of similar experiences making shorts, a failed short-to-feature crowdfunding campaign, and ramping up to my first feature, Mr Misfortune (https://vimeo.com/327521448). I'd love to talk to you or someone at NFS about nano-budget production and what I hope it leads to with the next film, as well as the self and hybrid distribution options and how I'm attempting to navigate them.

Congratulations, Noam! This year, I applied many of the same principles when shooting my first feature, Mr Misfortune. The movie is finishing up its festival run now, and I'm exploring distribution options. I think one thing filmmakers should talk about more, especially when it comes to low budget films, is what it takes to release it from a legal standpoint. There's so little discussion about clearance and E & O insurance, but it's a really important factor, especially now that many people are going the hybrid or self distribution routes. What are your thoughts on that, and do you have any advice on how to get legal/liability issues squared away on a micro or nano (less than $10,000) budget?