Ian Courter’s finalist comedy teleplay, “Sanctuary,” stood out at the Houston Comedy Film Festival, where he sat down with festival director Roselyn Omaka for a lively conversation about the project’s origins and what it takes to write and produce fresh comedic work.

Spotlighting Real Stories and Relatable Characters

Courter explained,

“Sanctuary is a story about things that happen everywhere—not just in the military. These are characters and people you’ve probably encountered in your own life.”

He shared that the show draws from experiences both overseas and in everyday office life, focusing on the quirks, pranks, and playful personalities that keep people sane during challenging times.

“Comedy was an outlet for us. It helped us get through the tough parts,” he said.

The show combines the camaraderie and genuine moments found in the military with a type of humor anyone can appreciate. “I’m not painting a picture of any one person, but you’re taking various attributes from lots of people and moving them around,” Courter noted, describing how everybody will find someone familiar in his characters.

Advice for Aspiring Filmmakers and Writers

Throughout the interview, Courter was candid about the writing process. “I didn’t go to school just for screenwriting. I read all kinds of books, looked at different scripts, and learned the template,” he recalled. “Once you get the mechanics down—the science—you then focus on painting the picture with brevity. That’s the art. It’s challenging, but it’s worth it.”

Courter’s advice for new filmmakers?

• Learn the form. “Figure out the format and mechanics first.”
• Study the greats. “Look at what masters do. How do they develop characters and scenes?”
• Push past self-doubt. “Just keep at it. You’re going to have times you struggle, but you can’t give up.”
• Keep an idea book. Courter shared, “I keep an idea book with me wherever I’m at. Something will trigger a memory or inspire a scene, and I write it down.”
• Get feedback. He said, “My wife, who worked in law enforcement, always helped me sanity-check the scripts. Especially for characters and perspectives I haven’t lived myself.”

Building Something Marketable and Fresh

Courter stressed being strategic: “You don’t need million-dollar sets or CGI. The biggest expense might be uniforms. You could shoot in an office space, a parking lot—use what’s real.” He encouraged producers to think business as well as creativity: “If you keep costs down but produce quality, you’re giving yourself a huge advantage.”

Instead of chasing big names, Courter said, “I want hungry, new actors from theaters or universities. They bring the energy a good comedy needs.”

Legacy and Purpose

When asked what he hopes audiences take away, Courter said,

“If I made someone laugh at the end of a hard day, that’s worth more than anything. People remember how you make them feel.”

For those new to the industry, his parting wisdom was simple:

“Have a plan. Map it out. You can always collaborate and learn, but you need a strategy for where you want your project to go.”

The conversation with Roselyn Omaka offered not just an inside look at “Sanctuary,” but a practical roadmap for new creators aiming to bring their stories to life—mixing personal experience, smart planning, and the enduring power of comedy to connect people.

For many, the glamour of filmmaking is irresistible—images of visionary directors, glitzy premieres, and movie magic dominate the conversation. Yet, as anyone who’s spent years in the trenches will tell you, the reality is far more complex. The film industry is a relentless battleground, as much about politics and business as art, and the true nature of success is rarely visible to outsiders.

Film Festivals: The Double-Edged Sword

At the heart of the independent film ecosystem lie film festivals, often billed as the great equalizers of the industry. While the mythology suggests anyone can submit and break through, the reality is more complicated. Connections, agency representation, and pre-existing buzz all factor into which films are curated for the main stage, giving an edge to projects with established talent or industry backers. Despite this, festivals remain an invaluable marketing vehicle for filmmakers.

A strong festival run is still one of the best ways for independent films and creators to build buzz, attract press, and secure distribution deals. Screenings offer networking with buyers, distributors, and industry professionals—a film that wins a prize or generates audience excitement can quickly become the talk of the festival marketplace. Even for those who “just” get selected, festivals provide crucial exposure that cannot be replicated anywhere else in the industry.

The Mirage of Studio Support

Many believe that a studio logo equals studio financing and hands-on creation. The truth is, most acclaimed indie films are funded and completed by their creators before enterprise studios like A24 or Lionsgate step in, only acquiring and distributing finished works already proven on the festival circuit. Thus, the financial and creative risks fall squarely on filmmakers—not the studios whose brands eventually adorn the project.

The Reality of “Set Life”

On the set, the legend of creativity and freedom often gives way to chaos and compromise. Scripts change last minute, tempers flare, politics seep into every department, and the pressure to stay on time and budget is omnipresent. Even icons like Stanley Kubrick and Francis Ford Coppola have described filmmaking as grueling—both physically and psychologically—with a constant tension between vision and reality.

Campaigns Over Craft: Awards Season

The Oscars and other high-profile awards aren’t simply merit-based contests. They’re the result of costly, targeted campaigns, often costing more than the budget of the film itself. Publicity blitzes, “For Your Consideration” events, and media narratives matter as much as artistry when it comes to landing awards and distribution deals.

Even the Best Must Struggle

Even legendary directors face bureaucracy and rejection. Steven Spielberg spent a decade getting Lincoln to theaters instead of cable. Francis Ford Coppola self-financed his own ambitious projects just to preserve creative freedom. Success rarely brings immunity to the system’s hurdles or guarantees autonomy for dream projects.

In Summary

The ugly truth is that filmmaking, no matter how it’s packaged, is a blend of calculated risk, tireless negotiation, and business strategy. Yet, despite the obstacles, film festivals remain a critical resource for indie filmmakers—a powerful platform for marketing, exposure, networking, and making that first crucial leap from anonymity to recognition. The path is never easy, but for those willing to fight through the illusions, there remains genuine opportunity and, occasionally, cinematic magic.

Actor Derek Dixon has filed a $260 million lawsuit against media mogul Tyler Perry, accusing him of sexual harassment, assault, and workplace retaliation during his tenure on Perry’s BET shows “The Oval” and “Ruthless”. In his first televised interview since filing the complaint, Dixon detailed a series of alleged incidents, claiming Perry sent him sexually suggestive text messages, made persistent unwanted advances—including physical contact—and implied that Dixon’s continuing employment on “The Oval” depended on his compliance.

According to the lawsuit, Dixon, who was cast as the character Dale and appeared in 85 episodes, said that Perry repeatedly invited him to his home, made inappropriate comments, and on at least two occasions engaged in physical acts without Dixon’s consent, prompting Dixon to lock himself in the guesthouse bathroom for safety.

Dixon alleges that after rebuffing Perry’s advances, his character was written off the show, which he interpreted as professional retaliation, and claims the experience led to severe anxiety, depression, and the loss of both his job and a TV pilot he had written, the rights to which he says Perry still holds. Dixon says his $260 million claim includes lost income and aims to deter future misconduct by using the legal system as a corrective measure against workplace harassment by figures in power.

Perry, through his attorney, has categorically denied all allegations, characterizing the lawsuit as “fabricated” and a “scam,” and expressing confidence that the claims will not stand up in court. Dixon maintains that his aim is accountability and change, expressing hope that his actions will help protect others in the entertainment industry from similar experiences.