In this episode, Last Days in the Desert executive producer Erik Lokkesmoe talks about the death of mid-budget movies, the importance of brand building, how he transitioned from a career in politics to marketing films, and why timeless art should come from the Church.
Is Genesis History? director Thomas Purifoy Jr. talks about making his polarizing documentary, how he found success releasing the film as a one-night only Fathom event in theaters across the country, the false dichotomy between science and faith, and what the Bible teaches us about good storytelling.
Director, Tim K, talks about climbing the ladder from lowly production assistant to big-budget commercial director, what it was like working at Funny Or Die during it's infancy, the panic attack he had directing his first super bowl spot, and being inspired by Jonathan Glazer.
Vox.com film critic Alissa Wilkinson talks about her favorite film of the year so far, GET OUT, how she stumbled into writing about movies for a living, why she thinks the best films about faith are usually made by filmmakers who have none, and the future of film criticism.
Filmmaker, musician, and record producer Steve Taylor talks about the Nashville film scene, producing one of the biggest songs of the 90s, the trials and tribulations of directing BLUE LIKE JAZZ, and the viability of Christian satire.
Producer David Jacobson talks about helping Kanye West pull off his historic Yeezy Season 3 Madison Square Garden show, what he learned working for his mentor, Laura Ziskin, getting LEE DANIELS' THE BUTLER made, and starting his new production company, Required Reading.
Rectify writer/director Scott Teems talks about following - and breaking - the "rules" of screenwriting, getting his first feature made, what it's like to work on one of the best TV shows of all time, and why Christians struggle to make good art.
Producer, author, and film marketing specialist Mark Joseph talks about what he learned working with Mel Gibson on The Passion of the Christ, marketing films to Christian audiences, his Reagan biopic, and why "faith-based" shouldn't be a genre.