I’m Peter D. Marshall and I created this film directing blog in 2007 as an online movie making resource center for Independent Filmmakers like yourself. Peter D. Marshall

(As of September 2, 2541 film making posts have been published on this blog!)

For over 40 years I’ve worked (and survived) in the Film and TV industry as a Film Director, Television Producer, First Assistant Director and Creative Consultant. (See IMDb Credits.)

In 1999, I started my website, ActionCutPrint which has grown into a major film directing resource for Independent Filmmakers featuring online movie making courses, film directing articles, film and television books and filmmaking workshops.

In 2000, I started publishing my free monthly film making ezine, The Director’s Chair which is read by over 6000 filmmakers in 105 countries around the world. (You can read 155 back issues here.)

To fulfill my goal of mentoring and teaching, I developed several filmmaking workshops that I have presented over the past 19 years (Singapore, Dubai, Haiti, Vancouver, Toronto, Calgary, Regina.) I am also a directing instructor for Raindance Canada and the Vancouver Film School.

I also offer Film Directing Coaching services via Skype. So why hire me as your film directing coach? Along with my international teaching experiences and my 40 years of professional filmmaking experience (as a TV Director and Feature 1st AD), I feel I have the necessary qualifications to help you achieve your dreams of being a creative and successful independent film director.

So if you want to keep up to date on the latest Online film and television resources, please Bookmark this Page Now or Subscribe to this blog to read daily film making articles written by myself and other film makers from around the world.

Contact Peter D. Marshall

The feature article in this month’s issue of The Director’s Chair is called Blocking and Rehearsing Actors on the Set. “When you first start directing, blocking a scene can be one of the hardest – and most embarrassing – parts of your job. Get it wrong here, and you could waste valuable shooting time trying to get out of the mess you created! Before you step onto any film set, you need to first do your homework on Script and Character Analysis. You must be able to understanding every detail of the script (what the story is about; the themes; the story points) and character development and analysis (the development and objectives of the characters).”

SUBSCRIBE to the current issue of “The Director’s Chair” and get two free bonuses: (1) Day One (41 pages) of my 261 page Online film directing audio course, “The Art and Craft of the Director Audio Seminar” and (2) the first 30 pages of my 165 page “Script Breakdown and Film Scheduling Online Course For Independent Filmmakers.”

by Sarah Salovaara.


Title sequences just aren’t what they used to be. Nowadays, if they aren’t entirely absent, opening credits are relegated to the corner of the frame, an afterthought accessory to a film’s first scenes. This video from Nora Thös and Damian Pérez entitled “The Film Before The Film,” examines the history of credit sequences from the first Edison films to the age of pioneering designers like Saul Bass and Maurice Bender, through the advent of AfterEffects in the 1990s.

Ironically, with all the more tools now at filmmakers’ disposal, titles have recessed into something of a lost art outside of Bond films and other (relatively) aesthetically high-brow big-budgets. “The Film Before The Film” considers the form not as a bumper, but as a piece of cinematic history.

Watch this video from Filmmaker Magazine.

Sign up now for your own FREE monthly subscription to “The Director’s Chair” filmmaking ezine and get the first 41 pages of my 261 page Film Directing Multi-Media Online course, “The Art and Craft of the Director Audio Seminar.”


by Bent.


As this article we just posted makes clear, it’s just about time for a heavy succession of major film festival submission dates.  So we decided to ask a bunch of filmmakers and film festival programmers to wax on their experiences so we could tell you what to do and not do when it comes to trying to get your film into a festival. We know some of it sounds kind of obvious, but from what we’ve been told — there’s a whole lot of filmmakers who don’t abide it. So listen up:

Read the rest of this article from Indie Wire.

Do you need a Film Directing Coach? If actors, singers and athletes have private coaches, why not Film Directors? If you would like help to achieve your dreams of being a creative and successful independent film director, please check out my Film Directing Coach services via Skype.


Filmmakers: How to Generate A Sticky Story Your Audience Will Love

August 31, 2014

by Carole Lee Dean. What do you think is the most important element of your pitch? After listening to thousands of pitches I can tell you that a “sticky story,” not just a story, but one I can easily remember. When you pitch someone it’s an opportunity to spread the word about your film to […]

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VIDEO: Filmmaker Shares Excellent Tips, Techniques and Concepts for All Visual Storytellers

August 30, 2014

by DL Cade. Filmmaker Richard Michalak has spent over 30 years behind the camera, and in the video above by Hugh Fenton he condenses all of that knowledge into a set of tips, techniques and concepts that will prove to be incredibly useful whether or not your interests involve moving pictures. To summarize what Michalak […]

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How ‘sex, lies, and videotape’ Changed Indie Filmmaking Forever

August 29, 2014

by Jason Bailey. It began with three brief items in his notebooks. “A film about deception and lost earrings,” went one. “Everybody has a past,” went another. And finally, “Friend on the couch. Affair with the wife.” The filmmaker jotted down those three ideas in 1986; three years later, the movie those three ideas spawned […]

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Hollywood’s health and safety nightmare

August 28, 2014

by Julia Llewellyn Smith. It was the middle of the afternoon when the emergency call came from Pinewood Studios in Buckinghamshire. A 71-year-old man had injured his ankle “in an incident involving a garage door”. Paramedics on the air ambulance sent to ferry him to the John Radcliffe Hospital in Oxford were amazed to discover […]

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GoPros on dorsal fins: How a Shark Week filmmaker tells sharks’ stories

August 27, 2014

by C. Molly Smith. is highly visual: Its name alone conjures up images of great white sharks breaching out of the sapphire blue waters of South Africa in slow motion. Between their impressive size and sleek design, sharks lend themselves to sight. They are the perfect subjects to be filmed, entirely photogenic. This imagery grabbed hold of […]

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Richard Attenborough Appreciation: A True Filmmaking Giant On Both Sides Of The Camera

August 26, 2014

by Pete Hammond. Lord was an Oscar winner. In fact he had two Oscars for both producing and directing 1982’s elegant epic biopic, Gandhi. But considering the breadth of his career not only in those capacities, but particularly as an actor, it is astounding to me that the Gandhi wins represented his only nominations in a six-decade career that memorably started with […]

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Far From Black and White: Modern Usage of Colourless Filmmaking

August 25, 2014

by Talia C. A director faces a plethora of choices when he or she sets out to make a movie. In this age of advanced modern technology, it is often assumed that one decision no longer needs to be made: whether to film in black and white, or in colour. Colour can add richness and […]

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How the influence of existentialist philosophy plays out in Richard Linklater’s filmmaking

August 24, 2014

by Ben Sachs. In a post last week I considered the possible influence of Rainer Werner Fassbinder’s Katzelmacher on a key sequence of Richard Linklater’s Boyhood. I failed to acknowledge, though, how this sequence is also highly characteristic of Linklater. To review, the passage finds a junior high-aged Mason walking and talking with a callous, […]

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