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 October 1, 2570 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 Julie Hinds.


When Michael Moore talks, people really, really listen.

Love him or hate him, the Oscar-winning filmmaker’s ability to convey his message in an entertaining way has changed the face of documentary filmmaking — a fact celebrated this week at the Toronto International Film Festival.

Moore was at the event for a Monday night screening of “Roger & Me,” the still-relevant 1989 movie about Flint’s economic implosion and GM’s job-slashing role in it.

On Tuesday morning, he delivered a frank, funny 13-point manifesto to the TIFF documentary conference. It urged documentary filmmakers to embrace their role as entertainers and use that fact to gain a wider audience for nonfiction movies.

As always, Moore was eminently quotable. Here are some highlights:

Read the rest of this article from Freep.com

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 Allan Tong.


Edward Zwick is at TIFF to premiere his chess drama Pawn Sacrifice, but over the weekend he spoke to young filmmakers from around the world at Films of City Frames. The Saturday morning event unveiled short films produced by New York University’s Tisch School of the Arts, University of Southern California’s School of Cinematic Arts, London’s National Film and Television School, Rome’s Centro Sperimentale di Cinematografia, Paris’ Groupe Esra and the Hong Kong Academy of the Performing Arts. The films featured the new line of sunglasses of sponsor Giorgio Armani, who presented the event with Rai Cinema and Luxottica in association with TIFF.

Best known for the films Glory, Blood Diamond and the TV series, Thirtysomething , the 61-year-old Zwick hosted a post-screening panel and fielded questions from an appreciative audience of budding filmmakers. His greatest piece of advice?  Read books. “Film,” he explained, “has become referential to other films. It’s very tempting to make an imitation of something you know works or like, and so your exploration becomes redundant.”

When viewing films by newcomers, Zwick looks for a unqiue voice that reflects the filmmaker’s personality. “Ask yourself about yourself and your point of view,” he urged. “Books first and experience second — travel, relationships, politics and all the things of engagement with the world.”

Read the rest of this article from Filmmaker Magazine.

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.


Egyptian movie director talks about taking risks in Arabic cinema

September 29, 2014

by Benita Adesuyan. Marwan Hamed’s latest film The Blue Elephant is an anomaly in . Released in July in Egypt to a strong reception, the hit film is a thriller, a genre that’s such a rarity in Arab film that critics thought it was a risk straying away from the feast of rom-coms and family […]

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6 Filmmaking Tips From James Gunn

September 28, 2014

by Scott Beggs. James Gunn made the movie that ruled the summer, which is really fucking weird. Not because he isn’t talented (because he is), but because his rise to prominence doesn’t make mathematical sense. The odds were astronomical. To think about it in the worst way possible, Lloyd Kaufman — the founder of Troma […]

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Ashim Ahluwalia debunks 12 rules of filmmaking

September 26, 2014

from DearCinema. The maverick director of John and Jane and Miss Lovely shared his insight on filmmaking with DearCinema readers at IndieTalk recently. He advised first time directors against the following unspoken rules of the industry: Read the rest of this article from the DearCinema IndieTalk Sesssion. Do you need a Film Directing Coach? If actors, singers and athletes […]

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How Movies Trick Your Brain Into Empathizing With Characters

September 25, 2014

by Greg Miller. There’s a scene near the end of Black Swan, where Nina finally loses her grip on reality. Nina, played by Natalie Portman, is the protagonist of this 2010 psychological thriller, a ballerina stressed to the breaking point by competing with another dancer for a starring role. She begins to hallucinate black feathers […]

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The Cinematographers of Sundance Share the Best and Worst Advice They’ve Ever Received

September 24, 2014

by Robert Hardy. It’s safe to say that there’s absolutely no shortage of advice floating around when it comes to the various aspects of the filmmaking. From writing and directing to shooting and editing, the internet is rife with advice from everyone and their mother. However, not all advice is good advice. The folks at Indiewire […]

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Russian Maestro Andrei Konchalovsky on Digital Filmmaking

September 23, 2014

by Steven Gaydos. Nearly 50 years after directing his debut feature, “The First Teacher,” Russian maestro Andrei Konchalovsky returns to the Venice Film Festival competition for the fifth time as director with “The Postman’s White Nights.” No stranger to major film fest red carpets, Konchalovsky first saw the Venice spotlight as a screenwriter on legendary […]

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Werner Herzog’s No-Bullshit Advice to Aspiring Filmmakers and Creative Entrepreneurs

September 22, 2014

by Maria Popova. Psychologists have long championed the idea that the ability to remember and integrate experiences is a central component of creative work. In Werner Herzog: A Guide for the Perplexed (public library) — the same wide-ranging beast of an interview that gave us the legendary filmmaker’s thoughts on creativity, self-reliance, and how to […]

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Canadian filmmakers ride into TIFF without ‘training wheels’

September 21, 2014

by Geoff Pevere. The only way the 1984 Toronto Festival of Festivals could have been more Canadian would have been if there had been a snowfall in September. Not that the fest, since rebranded as the Toronto International Film Festival, needed it. That was not only the inaugural year of a new national showcase program […]

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