Behind the Lens with MindInMotion: Crafting Stories Through Limitations

We recently had the chance to sit down with Josh and Victor from MindInMotion, an independent production company rooted in Baltimore. From their early days as film students to their experiences juggling micro-budget projects and client work, the duo shared valuable insights into how creative partnerships thrive, and how limitations can spark innovative filmmaking.

1. How did your shared passion for filmmaking develop, and what have been the key factors in maintaining a strong creative partnership?

Josh: We met in a 16mm filmmaking class at Johns Hopkins University. We’d had enough theory and wanted to make more films - so we started working together on projects outside of school. While still in college we founded our production company MindInMotion, and after graduating we turned it into our full time career. In terms of maintaining the partnership, I think some conflict is important. We often agree but when we don’t there’s often something to be learned and a better creative output to come from it. Learning how to challenge one another constructively has been vital across the five feature films we’ve made together.

2. What was the biggest lesson you learned from your first micro-budget project?

Victor: One of the biggest lessons was adaptability. Something always goes wrong during a shoot, regardless of the budget. On a micro-budget, you can’t just throw money at problems, so you have to improvise. It could be the weather, a sprained ankle, or losing light. Sometimes you rewrite the scene on the spot. Often, these changes lead to something more exciting than the original plan.

3. Your films are grounded in naturalistic storytelling. Can you share a personal story that shaped this creative voice?

Victor: I think a lot of it has come from working within limitations. Working with real locations rather than sets, with limited resources to change them much, utilizing natural light because there isn't the budget for a big grip and electric team to completely change what the sun is doing. And then casting actors who look less Hollywood and more like regular people. And sometimes working with non-actors as well. I think aesthetically we gravitate towards a more naturalistic aesthetic and are always looking for ways to remove the artifice of the filmmaking process from the final product and help a viewer disappear into a world. And that’s something we’re always striving to do better.

4. How do you balance the artistic freedom of independent filmmaking with the structured demands of client-driven work?

Josh: We’ve always split our time between client work, which supports us financially, and our independent filmmaking, which fulfills us creatively. The two actually complement each other well. Our experiences in independent filmmaking help us bring a creative edge to client work and have made us much better at problem solving and improvisation, while the discipline and efficiency of corporate and commercial projects have improved our narrative filmmaking workflow. We also meet creative people in each area that we often carry over with us into the other. Finally, it’s easier to make a film when you already own most of the equipment to do so from your day job.

5. What unexpected challenges have you faced as a production company, and how did you overcome them?

Josh: One of the biggest challenges was learning how to put ourselves out there and become a trusted resource for clients. As naturally shy people, building those relationships took time and effort. On the filmmaking side, working with tight budgets has always been tricky—everything from casting to securing locations can be a challenge. Surprises inevitably arise, but staying flexible and resourceful helps us overcome them.

6. How has being based in Baltimore shaped your filmmaking and distribution strategy?

Josh: Baltimore has a tight-knit filmmaking community that’s incredibly supportive. People are open to sharing resources like locations, which you might not find in larger industry hubs. Being here has taught us to work resourcefully, and with digital distribution, a great project can now reach audiences no matter where you’re based.

7. Can you tell us more about The Farmhouse and its role as a proof of concept?

Josh: The Farmhouse is a proof-of-concept short for a feature film we’re developing. We created it to immerse potential audiences and investors in the world of the story. It’s more dynamic than a traditional pitch deck, allowing us to showcase the tone and vision of the larger project. We’re still looking for a way to get it made - it’s been a project we’ve been dreaming about and working on for years.

8. What tips do you have for achieving high-quality horror effects on a limited budget?

Josh: The internet is an invaluable resource for learning horror effects, and reaching out to artistically talented friends or collaborators is key. We’ve been fortunate to work with people who have a deep passion for practical effects, and it’s about finding the right people who are as excited about the project as you are.

9. How do you turn the constraints of micro-budget filmmaking into creative opportunities?

Josh: Constraints often lead to unexpected breakthroughs. For example, while making Lotus Eyes, we didn’t have the budget to build dystopian sets. Instead, we road-tripped around Maryland, Pennsylvania, and West Virginia, finding incredible abandoned locations that added an authenticity no set could replicate.

10. What strategies have worked for you when pitching micro-budget projects to investors?

Josh: Building personal relationships and being as open and transparent as possible has been key. We want investors to trust us, so we ensure they understand the risks and our plans. Keeping the process an open book builds confidence and trust.

11. How did you secure distribution for your feature films?

Josh: We worked with a sales agent introduced to us by one of our producers. The agent pitched the films to distributors, which led to their release on major VOD platforms.

12. How do you decide which festivals to target, and what advice do you have for filmmakers?

Josh: We’ve found genre-focused festivals to be particularly rewarding. They connect you with audiences who are genuinely excited about your work and like-minded creators who can become long-term collaborators.

13. What distribution mistakes have turned into valuable lessons?

Josh: One major lesson was understanding the difference between aggregators and distributors. Saving a substantial budget for marketing is also critical—without it, even a great film can struggle to find an audience.

14. If budget and access were no issue, who or what would you love to collaborate with, and why?

Victor: Josh and I both have a number of dream projects. Josh and his wife Abby wrote a musical we want to make when budget and connections allows. Josh’s favorite musical is Ragtime and we’ve talked about how to adapt that for a long time. I’d love to adapt Cormac McCarthy’s Blood Meridian and make a proper science fiction film. Maybe that can be a musical too, who knows. In general we’d just love to keep making films, regardless of the budgets.

15. What upcoming projects are you working on?

Josh: We’re currently developing Asylum, a micro-budget horror feature. It’s a home invasion thriller set during a global pandemic, and we plan to begin shooting in April.