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Hello Reader,

Independent filmmaking is, let’s face it, a masterclass in chaos. You’re juggling creative decisions, financial constraints, and the ever-present specter of doubt. Some days, you’re Steven Spielberg (or insert your favourite director here); other days, you’re just praying the caterer doesn’t quit.

But here’s the thing: the chaos can cloud your judgment. Enter Daniel Kahneman’s Thinking, Fast and Slow—and the idea that we have two thinking systems: one fast and intuitive, the other slow and deliberate.

For filmmakers, mastering when to use each system can mean the difference between a triumphant film festival premiere and a public meltdown over the sound guy eating the last donut.

Daniel Kahneman’s Thinking, Fast and Slow is a book that explores how humans think and make decisions. The book is built around Kahneman’s research in behavioural psychology and economics, which won him the Nobel Prize.

It introduces readers to two modes of thinking, referred to as System 1 and System 2, and explores how these systems influence our judgments and decisions.

The Two Thinking Systems:

Kahneman’s theory is deceptively simple but profoundly insightful. It posits that humans rely on two modes of thinking to navigate life:

System 1: Fast Thinking

This is the automatic, intuitive, and effortless part of our brain. It works quickly to process information and make snap judgments. For instance:

• You recognize an actor’s face on TV.
• You decide to swerve when a ball rolls into the street.
• You instinctively choose the cheaper camera lens when comparing two options.

System 1 is great for efficiency and speed. It’s the part of your brain that allows you to direct on the fly, adapt to on-set emergencies, and quickly assess whether a shot “feels” right. But it’s also lazy and prone to errors. It relies on shortcuts—what psychologists call heuristics—which can lead to biased or irrational decisions.
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System 1 (Fast Thinking) is:

• Automatic, intuitive, and quick.
• Operates effortlessly and is responsible for gut reactions, instincts, and snap judgments.
• Examples: Recognizing a face, detecting anger in a voice, or answering simple math problems like 2 + 2.
• Pros: Efficient, saves time, and helps us handle daily tasks without overthinking.
• Cons: Prone to biases, errors, and overconfidence because it often relies on shortcuts (heuristics).

System 2: Slow Thinking

This is the deliberate, logical, and effortful part of our brain. It steps in for complex problems, long-term planning, or decisions that require careful thought. Think about:

• Calculating your post-production budget.
• Revising your screenplay for the third (or tenth) time.
• Debating whether to accept a distributor’s offer or hold out for a better deal.

System 2 is slower, requires mental energy, and can often be overridden by System 1 if we’re not careful. But it’s where rational decision-making thrives.

System 2 (Slow Thinking) is:

• Deliberate, logical, and effortful.
• Used for complex decisions, calculations, and solving problems that require focus.
• Examples: Filling out a tax form, learning a new skill, or deciding on a big investment.
• Pros: More accurate, rational, and capable of overriding the errors of System 1.
• Cons: Slow, mentally taxing, and lazy—it prefers to let System 1 take over whenever possible.

Key Themes and Insights:

1. Cognitive Biases and Heuristics:

Kahneman explores common cognitive biases, like the availability heuristic (judging the likelihood of events based on how easily examples come to mind) and confirmation bias (seeking information that confirms our preconceptions).

These biases explain why people often make irrational decisions, even when they think they’re being logical.

2. The Illusion of Understanding:

Humans are storytelling creatures. We crave coherent narratives, even when the world is complex and random. This leads us to overestimate how much we understand and underplay the role of chance.

3. Loss Aversion:

Kahneman’s research on prospect theory shows that humans dislike losses more than they enjoy equivalent gains. For example, losing $50 feels worse than the pleasure of gaining $50.

This explains risk-averse behaviour, even when taking risks might lead to better outcomes.

4. Anchoring Effect:

People rely too heavily on initial information (the “anchor”) when making decisions. For instance, if you’re told a jacket is originally $500 but now costs $200, you’re more likely to buy it—even if it’s not worth $200.

5. Overconfidence:

System 1 loves certainty, even when it’s unwarranted. People often overestimate their abilities and knowledge, which can lead to poor decision-making.

6. Decision-Making Under Uncertainty:

Kahneman examines how people weigh probabilities and outcomes, often irrationally. For example, we tend to overreact to small probabilities (fear of plane crashes) and under-react to larger, abstract risks (climate change).

Practical Applications in Everyday Life:

• Personal Decisions: Recognize when you’re relying too heavily on your gut (System 1) and consciously engage System 2 for important choices.
• Business and Finance: Be aware of cognitive biases like overconfidence and loss aversion when making investments or business plans.
• Public Policy: Understanding how people think can lead to better policies (e.g., nudging people toward healthier behaviours).
• Negotiations: Awareness of biases like anchoring can help you avoid being manipulated.

Why It’s Important:

Thinking, Fast and Slow reveals the inner workings of the human mind and explains why we often make irrational decisions. By understanding how our thinking systems operate, we can recognize our cognitive blind spots and make better, more deliberate choices.

In short, the book is a deep dive into the mechanics of human decision-making, offering tools to think more critically, question our instincts, and avoid common pitfalls in reasoning.

Okay, so how do we apply this deeper to our approach to making films?

The Dance Between Systems

Here’s the kicker: we rely on System 1 far more than we should. It’s easier and less taxing, so we let it make decisions that really require the attention of System 2. For filmmakers, this can lead to impulsive actions, like signing a contract without reading the fine print or greenlighting an expensive location without considering cheaper alternatives.

But this isn’t about dismissing System 1—it’s about knowing when to pause and engage System 2.

Fast Thinking: Your Gut Can Be Gold

Let’s give credit where it’s due: your gut instincts are the reason you became a filmmaker in the first place. That spark of inspiration—the “I need to tell this story” moment—came from your fast-thinking System 1. It’s the same system that helps you make snap decisions on set, like where to position the camera when you’re losing daylight or how to calm your lead actor after their fifth meltdown.

Fast thinking is your creative fuel. But, like fuel, it’s volatile. Left unchecked, it can lead to impulsive decisions. Ever approved a location without reading the fine print, only to find out it’s next to an active construction site? Yeah, that’s fast thinking steering the ship.

Slow Thinking: The Unsung Hero

On the flip side, your slow-thinking System 2 is your editor—it steps in to refine, question, and course-correct. It’s the voice that asks, “Do we really need a drone shot for this scene, or is it just because drones are cool?” (Spoiler: it’s usually the latter.)

System 2 saves you from costly mistakes, but only if you give it the chance to engage. Take the example of the anchoring effect—when we rely too heavily on the first piece of information we receive. Imagine a rental house quotes you $5,000 for equipment. Without engaging System 2, you might assume this is the baseline and accept it. But a little research could reveal a $3,500 option elsewhere.

How to Apply This as a Filmmaker

The key is knowing when to slow down and let your System 2 take over. The next time you’re tempted to make a snap decision, ask yourself:

• Is this decision fueled by fear, ego, or urgency?

• What’s the worst that could happen if I waited 24 hours?

• Who can I consult to give me a fresh perspective?

For instance, when you get a last-minute suggestion to rewrite a key scene, resist the urge to react immediately. Take a beat, weigh the pros and cons, and consider how it fits into the larger story.

Happiness, Diminishing Returns, and Filmmaking Goals

Speaking of perspective, Kahneman’s research on income and happiness is a goldmine for indie filmmakers. His original study suggested that happiness plateaued after $75,000 in annual income. While recent research has tweaked that finding, the key takeaway remains: money matters—up to a point.

For filmmakers, this is a useful lens to evaluate success. Sure, landing a million-dollar budget might sound like nirvana, but will doubling your budget really double your creative freedom? Or will it just mean more stakeholders breathing down your neck and fewer creative risks?

What Filmmakers Can Learn: The Joy of Constraints

Independent filmmakers thrive within constraints. Small budgets force you to think creatively, find resourceful solutions, and focus on the story rather than the spectacle. Would a $200,000 budget make you happier than a $100,000 one? Maybe. But the diminishing returns kick in quickly.

Here’s the practical takeaway:

• Aim for financial security that allows you to create without constant stress.
• Remember that creative fulfillment often comes from doing more with less, not from having every tool at your disposal.

Disassociate: Getting Out of Your Own Way

Let’s talk ego. Whether you’re directing your first short film or producing your 10th feature, it’s easy to conflate criticism with personal attacks. One of the most powerful tools we have is the ability to disassociate—to step outside ourselves and see the bigger picture.

When someone criticizes your work or offers unsolicited advice, your fast-thinking system might interpret it as a threat: They don’t believe in me. But what if you paused and reframed it? What if, instead of seeing the critique as an attack, you saw it as an opportunity to improve—or simply as someone else’s perspective that doesn’t have to define your worth?

On one project, I had a heated disagreement with a crew member over a perceived power play they were attempting to force my hand. My instinct was to pull rank, insist on my authority, and make it clear who was in charge. But then I disassociated. I stepped out of the moment and asked myself: What’s the bigger goal here? By letting go of my ego, I opened the door to a stronger working relationship. It doesn't mean I was right or the crew member was right, nor did it mean we were suddenly best friends, but for what I needed to accomplish moving forward, we accomplished our goals. There's always time to evaluate and debrief later...

Practical Tips for Disassociation in Filmmaking

• Pause Before Responding: If someone challenges you on set, take a moment before replying. Even a five-second pause can shift your perspective.
• Focus on the Project, Not the Person: Frame every conflict in terms of what’s best for the film, not your ego.
• Ask for Input: When emotions run high, bring in a neutral third party to weigh in. Collaboration is the cornerstone of filmmaking.

Closing Thoughts: The Indie Filmmaker’s Mindset

Independent filmmaking is a wild ride. It demands creativity, resilience, and the ability to make decisions on the fly. But the most successful filmmakers know when to take a beat, let their slow-thinking system take the wheel, and disassociate from the ego-driven chaos.

So the next time you’re on set, facing a tough call or a heated moment, remember this email. Pause. Reflect. And always keep the bigger picture in mind: the story you’re trying to tell.

Because in the end, filmmaking isn’t just about thinking fast or slow—it’s about thinking deeply.

Episode 2 of Off the Lot is available!

This week, we sat down with Jack Cox (director) and Cole Hewlett (producer) to talk about their incredible microbudget horror film, The Stickman’s Hollow.

Made on a $30,000 budget, this found footage feature captures the eerie tale of Clara Hall, a child allegedly suffering from demonic possession, told through four chilling perspectives.

In this episode, we cover:

• How Jack and Cole developed the concept.
• Turning a short film into a proof of concept for the feature.
• Challenges of shooting on a $30k budget, including remote locations and creative problem-solving.
• The intricacies of directing a found footage film and treating the camera as a character.
• The post-production journey and how intentional sound design elevated the horror.
• Navigating the festival circuit and finding a distributor through smaller festivals and networking.

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Missing anything that you want to see? Let me know.

Cheers,

Anthony (He/Him)

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Ways to Work With Me

1. ​Monthly Coaching: To help you get unstuck in a script, your marketing plan or movie launch, etc.
2. ​Consultation Calls: Great for Pitch Deck reviews, script discussions, pep talks.
3. ​"Scratch to Screen": A guided 52 week email and live coaching course.
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Upcoming Projects

"The Quiet Canadians", a feature movie about skilled Canadian operatives who are trained in the elimination of local and foreign targets, is in development. Click here for more information​

"Xing'er: Origins", a feature film about a family's fight for survival against a deadly sect of assassins, is in development. Click here to find out more.​

See more of our projects in development by checking out our website.​
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