Vachon's company has a reputation for championing quirky, filmmaker-driven, politically provocative films like Go Fish and Boys Don't Cry, but a central facet of Vachon's job involves knowing when to fight for a filmmaker's vision and when to compromise for the sake of a film.

Vachon's company, Killer Films, has a reputation for producing filmmaker-driven, provocative films and she seems to know when to fight for a filmmaker's vision and when to compromise for the sake of a film. Pitched squarely at aspiring filmmakers looking to follow in her footsteps, Vachon's involving account jumps hyperactively from film to film, taking readers behind the scenes of Kids and Far From Heaven, recounting the arduous process of casting Infamous in the shadow of Capote, and providing an inside look at the post-production battles of A Home At The End Of The World. Periodically, Vachon and co-writer Austin Bunn turn the book over to filmmakers and others in Killer's axis so they can provide first-person accounts of navigating the tricky waters of independent filmmaking. This is a fascinating trawl through independent film of the last 10 years and reads like a history of contemporary gay and lesbian filmmaking.