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 17, 2556 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 156 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 Defining the Director/DOP Relationship. “The cinematographer Vittorio Storaro (The Conformist, The Last Emperor, Apocalypse Now,) said that cinematography was a shared art that couldn’t be articulated by any one single person. The director is usually the one person that can take credit for any specific element that happens during the making of a film because whatever creative or technical concept that ends up on the screen, it’s assumed to have been the vision of the director.”

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 Joe Berkowitz.


A professional scriptreader read 300 screenplays for five different studios, all the while tracking the many recurring problems. The infographic he made with the collected data offers a glimpse at where screenwriting goes wrong.

If selling a screenplay were easy, all those people crowding coffee shops with their laptops would be millionaires, or at least optioned. It’s not easy, though. So many factors that are totally out of the writer’s control tend to combine and form a phalanx keeping him or her out of Hollywood.

One thing that certainly is up to the writer, however, is whether the screenplay sucks. A new infographic offers some hard-earned insider tips about pitfalls the novice scribe should avoid, in order to refrain from sucking.

Read the rest of this post from Fast CoCreate.

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 Indiewire.


Documentary filmmakers are a special breed – and yet, despite (or maybe because of) their unique skill set, a select group has made the leap to narrative features– including, most recently, R.J. Cutler, whose narrative feature film debut, “If I Stay,” hits theaters tomorrow. In some cases, the transition hasn’t gone entirely smoothly, but we still applaud their versatility and flexibility. And in other cases, narrative filmmakers tried their hand at documentaries. In either case, they’re listed below in alphabetical order.

Read the rest of this article from Indiewire.

Sign up now for your own FREE monthly subscription to “The Director’s Chair” filmmaking ezine and get the first 41 pages of my 258 page Film Directing Multi-Media Online course, “The Art and Craft of the Director Audio Seminar.”


Decoding Bollywood: Stories of 15 Film Directors

September 16, 2014

by Business of Cinema. After her first runaway success with Westland, My Life, My Rules: 18 Stories of Unconventional Careers, entrepreneur and writer, Sonia Golani is gearing up for yet another best-seller. Titled Decoding Bollywood: Stories of 15 Film Directors, the book is first of its kind in unraveling the genius of 15 masterclass directors […]

Read the full article →

Insider Insights On Indy Filmmaking: Post Production, Music, And Sound

September 15, 2014

by Hannah Means Shannon. Yes, I was originally going to title this article “Sound and Music” but beat you to the punch. I robbed you of a lame pun. So eat it, we’re moving on. As we get into the realm of finalizing audio on your picture, I’d like to preface this section with the […]

Read the full article →

Secrets of Selling Your Movie Online (Don’t Get Screwed)

September 14, 2014

by Jason Brubaker. Today’s question comes from a filmmaker who is puzzled over how to sell his movie online. Since the world of video on demand distribution is changing the ways in which movies are seen and sold, having a solid distribution strategy that you can implement is essential for success. And selling your movie […]

Read the full article →

6 Filmmaking Tips from Jim Jarmusch

September 13, 2014

by Landon Palmer. As many successful American filmmakers who get their start in independent filmmaking quickly find themselves comfortable in Hollywood studios, Jim Jarmusch feels like the anachronism that the economics of filmmaking rarely find room for but the culture of cinema certainly needs. After making the No Wave-era Permanent Vacation on the seemingly post-apocalyptic landscape […]

Read the full article →

The Art of the Documentary: How Sundance Institute Is Supporting Unparalleled Creativity On-Screen

September 12, 2014

by Holly Eagleson. In the digital age, making a documentary with an impact is deceptively simple. All you theoretically need is a smartphone camera and an Internet connection. But as any filmmaker will tell you, that’s like saying, “Here’s a fire and a fork—go make a gourmet meal for hundreds.” Not only do docs require […]

Read the full article →

The Passion Plays That Spark The Activism Of Modern Female Filmmakers

September 11, 2014

by Denise Restauri. As I was watching the trailer for STILL, a film about a young woman in an abusive relationship that is directed by 22-year-old Slater Jewell-Kemker, I started to think about what drives young filmmakers to pour every cent and every ounce of energy they have into making films that take on really […]

Read the full article →