On the set of KILLER MOVIE by Jeff Fisher You can read Part 1 of this story here:  https://www.reeltalkwithjeff.com/post/how-i-got-my-first-feature-film-made-part-1-dead-bodies-paris-hilton-and-a-thousand-no-s After a thousand "No's," a last-minute financing swing, and some epic casting luck, I arrived in Minneapolis ready to shoot my first feature film. There was just one problem: the snow was gone. "Dead of Winter" would need a new name. But that was the least of my worries

by Jeff Fisher With Paul Wesley and Kaley Cuoco on the set of KILLER MOVIE Sometimes your first feature film gets born out of the most challenging circumstances. For me, it was February in Michigan's Upper Peninsula. 17 degrees below zero. No cell service. No internet. Just me, my dog, howling wind, and an endless parade of locals telling me horrific accidental death stories. This is how my first feature "Killer Movie" came to be. THE SCRIPTED DREAM Even though my short films

Jessica Tuck, Larry Poindexter, Laura Leighton and Chris Jacobs in ANGELS, BABY! by Jeff Fisher Let me tell you about the time I put a musical on my credit cards, almost had to shoot the finale topless, cast Sydney from "Melrose Place," gave my mom her big showbiz moment, and somehow lived to tell the tale. This is the story of "Angels, Baby!" - the short film that taught me there's no such thing as short film jail. WHEN ONE RISK LEADS TO ANOTHER I had just made my first shor

It was 1994, and I was making $325 a week as an assistant at one of Hollywood's major talent agencies. Lots of making my boss lunch reservations at Chasen’s or The Grill, rolling call lists two hundred names deep... and sometimes watching the random stapler being hurled to get an assistant’s attention. I still get PTSD when I pass that old building on Wilshire Boulevard. If you've never worked at a talent agency, think The Devil Wears Prada meets Succession vibes. The agenc

By Jeff Fisher Starting as a production assistant and later the Video Assist on Martin Scorsese's "Cape Fear" and working my way up to directing studio films wasn't just about learning technical skills—it was about understanding people, energy, and the art of trusting your instincts. After decades in this business, from reality TV shenanigans to Blue-Sky Hallmark films, I've learned that your gut might be the most important tool in your director's toolkit. Grace Under Pressur

How to get inspiration from the things that scare you the most.