Documente Academic
Documente Profesional
Documente Cultură
Over the years, I have accumulated many elements and concepts for
writing a romance script or novel. I have taken these elements
from countless books and articles. The following is a collection
of 55 elements to help you write a romance script or novel.
1. sexual love is one of the great romantic themes along with adventure
13. romance explores the fertile darkness beneath the surface of personality
18. love and adventure are presented through a ritualized code of conduct
22. the illusions of life can end only with death because they
inform all our perceptions
25. they instruct us on our own world even while they allow us to escape from it
30. heroes of romance seek solitude for the exercise of their essential virtue
35. the subtle balance between the two duties (the dictates of
reason/the dictates of love) is what motivates both the hero's
hesitation and his action
53. hints of tragedy help to increase the suspense (and irony) of the story
54. a romantic tragedy, like Romeo and Juliet, can end on a
note of hope - the lives of the lovers are burnt up, but the end
of the story is optimistic: the tragedy has left things better
than they were at the start of the story
55. in Romeo and Juliet, the lovers suffered, but the intent
of the suffering was a more transformation caused by the power of
ideal love, which may or may not have been fulfilled in sexual love
=======================================================
4. BACK ISSUES OF "THE DIRECTOR'S CHAIR"
=======================================================
=======================================================
5. QUOTE OF THE MONTH
=======================================================
"Hate to shatter your ego, but this ain't the first time I've had a gun pointed at me."
=======================================================
3. FEATURE ARTICLE - "A Short History of the Horror Film"
=======================================================
Going to the movies may not seem like a novel way for little
kids to spend an afternoon. But have you ever brought your
child to see a Disney flick and ended up viewing trailers
for Jeepers Creepers 2 or Freddie vs. Jason? When this
happened in a Birmingham, Alabama cinema last year, parents
became concerned about what the main attraction would be.
But before the managers at the cinema could turn off the
previews, the main attraction came on, and it wasn't Piglet.
Instead they were presented with the gruesome opening of
Wrong Turn, an 18-rated slasher flick in much the same vein
as the previews.
The early 1960's saw the release of two films that sought to
close the gap between the subject matter and the viewer, and
involve the latter in the reprehensible deeds shown on
screen. One was Michael Powell's Peeping Tom, the other was
a very low-budget film called Psycho, both using
all-too-human monsters rather than supernatural ones to
scare the audience.
=======================================================
3. FEATURE ARTICLE - "Working with Actors on the Set"
=======================================================
- should always be at least "two" things going on in each scene with a performer
- motivate the actor to help trigger a response
- an actor can go "over the top" as long as you know how to pull them back
- make sure the actor knows his OBJECTIVE for each scene
- actors want to know why they do things (You must always have the answer!)
- fish for information from the actor (don't let them off the hook)
- do not have two actors playing off a different element within a scene
- try to iron out differences with the actors before shooting begins
- directors should know how to interpret every scene and line of dialogue
- technical actor (portrays a character the way it was created by the writer)
- each actor must understand where the scene they are doing fits into the story
- acting is being, not behaving (must have an honest attitude; show it in the eyes)
- each actor should make his dialogue his own, commit himself to
a way of speaking that best fulfills his screen character
- actors can change lines and improvise as long as you know what
the intent of the scene is
The main topic of the panel discussion was the following "10
Things to Avoid in Writing Low Budget Scripts"
=======================================================
7. FEATURE ARTICLE - The 12 Biggest Mistakes Directors Make
=======================================================
5) Being lazy
You can't expect both. If you have skilled actors at work there
will be some variations moment to moment and performance to
performance that make it real and therefore subject to change.
Expect and accept that.
Spectacle has its value, but when we wean the audience from
simple human drama, we commit a kind of suicide. We disenable
the audience, and ourselves, from recognizing basic
person-to-person connections, disconnections, and
reconnections. It becomes instead all about the eye rather than
the ear, about cleverness and money rather than insight and
skill. Remember that the audience has come to the theatre to
believe, to respond to the magical words, "Once upon a time,"
not to admire a laser show.
Camera rental houses have their set prices, but they are always
willing to deal with rising artists. They know that if they
treat you well while you are struggling, they will benefit when
you hit the big times. In my case, Panavision was the hero
that gave me the best deal in town. Free.
If you can't wait for the list to come around, you can always
get a DP with a relationship to a rental house. When they call
and plead about how good your script is, you are guaranteed a
better deal, if not a free package.
The studios always order more film than they need, and then
sell off the excess every few months. If you are a part of a
film artist network, you might want to pool your money and put
in a bid for the studio's leftovers. That can be a great deal
for everyone involved.
The decision you need to make is this: Is film what you REALLY
want? In many cases, such as the television pilot I co-wrote
and directed, digital was the way to go. But use it because it
looks right for your project. "Blair Witch" wouldn't have
worked if it was shot on film. Just be true to your vision.
Don't compromise on issues of format because it looks
impossible on paper. Use your passion for your project as a
catalyst for allies. Everyone wants to work with someone who
has a strong creative vision and a deserving project.
Next month we'll look at ways you can save money during the
production phase, in part two of this three part
series=======================================================
4. FEATURE ARTICLE - DV or Film? Don't let cost be a deciding factor.
=======================================================
The joy of the moving master. In every scene you do, find an
interesting way to shoot all of the action in the scene, with
the camera in motion. Steven Speilberg's films are synonymous
with this. It will save you time, create an interesting shot
you can use 90 percent of, and will cut down on the amount of
extra shots or coverage you will need. I found in my film that
a good moving master can reveal plot elements in the order with
which you want them to unfold, without editing. Hitchcock's
"Rope" is a great example. The entire film is a moving master,
and today could be shot on 35mm film for less than $5000.
Staggering, but true.
=======================================================
4. FEATURE ARTICLE - DV or Film? Don't let cost be a deciding factor.
=======================================================
There are several labs that can do a great deal of your work,
but there are no one-stop-shops. Make use of all of the
services that your chosen lab provides, as you will get a
discount. When you are comparing lab prices, don't use the
rate cards. Speak with a sales representative and let them
know that this is your first film project. Everyone wants to
help new artists that believe in the "dying medium" of film.
The sales reps will give you rates that are anywhere from 15 to
35 percent off of their published rates. Crest Labs in Los
Angeles is known for their great rates, as is Fotokem. Fotokem
offers many more services, and has top rated facilities. Ask
about their developing rates per foot, and tell them you want
to use them as your lab from beginning to end. They will want
to know if you are finishing digitally or on film, as it
impacts the services that they give you quotes for. Call
around and really do the footwork and you will save in the long run.
Now it's time for that mysterious word, TELECINE. This is the
process by which your actual film is transferred into tape so
that you can edit it digitally. If you are planning to finish
on film, you want to make sure that you tell the lab you want a
time code window burn. This will allow the negative cutter to
use your tape to find all of the cuts you have made digitally
...but we'll get to that later. Make sure that you are laying
down your film onto a decent format. If you are doing a film
print, the lowest quality tape that you want to use is DVCAM.
If you don't, the negative cutter may end up missing a few
frames which could hurt you when you try to line up your final
soundtrack. If you are finishing the movie digitally, I
suggest laying it down on the highest possible quality tape.
This is the Digibeta D-5, and will allow you to move to any
format including HD.
Now that you have your digital tape, you are ready for editing.
While you are editing, pay close attention to the sound. Make
notes on all of the sound effects that you need to add. Also
note pieces of dialogue that may need to be re-recorded.
Another trick is to try and pick up some of the dialogue from
other takes. It can work very well, and save you an extra day
of dialogue recording. Remember, every movement requires sound
to give it depth. Footsteps are the most commonly forgotten
foley. Even if the feet aren't in frame, put in the sound!
The more depth and color your sound has, the more engaging your
film will be. Final Cut Pro has a pretty decent set of sound
editing tools that you can do most of your work in. When you
get your edit and sound together, listen to it as loud as it
would be in a theater. Make sure the mix sounds right and that
no sound is peaking. Monitor the amount of background noise,
or room tone and decide if it is distracting. Once you have
all of your edits locked and your sound mixed tweaked, it's
time for music.
1. Go see local bands play and buy their CDs. You might
find something that really fits your movie! Local groups are
eager to get their music out there, and might let you use it
for free. If not, a few hundred bucks is usually good enough
to make a deal.
Look at all of those titles, fades, and effects that you put
into your film, and make sure you absolutely need them. Why?
Because optical and digital effects are pretty expensive when
finishing on film. If you can do without them, do it. My
nine-minute short had 3 minutes worth of titles and effects for
a grand total of $6000. Ouch. But if you need it, you need
it. There are many optical and title houses out there, and you
will need to do some dealing. This process will take a little
longer, as you will need to meet with each company in order to
get an accurate quote. This effect and titling process has to
be completed before you go to the negative cutter. When the
effects are complete, the effect house will give you digital
versions of the FINAL versions of the titles and effects that
you need to re-edit into your master. The reason for this is
that the final effects will have a new time code for the
negative cutter to read. Otherwise, they will cut together
your originals without the effects and titles.
With a low budget, you will probably only make one print to
screen at festivals. But if you have a little extra money,
it's always good to have a back up. Most labs will keep your
prints and your originals stored in a safe, temperate vault at
no charge to you, for as long as you want. Keep your extra
print there, and only use it when absolutely necessary. The
more a film is run through a projector, the faster it degrades.
Much of this article will sound like Greek the first time you
read it. I never thought I would get through it, and at times
wished I had shot digitally. But when you throw a film up on
the screen that you created, it's worth the extra effort to see
something so dazzling and professional....and little did you
know that you could do it so cheap.
=======================================================
4. FEATURE ARTICLE - Finding the Right Agent
=======================================================
Do you have the right agent? Should you look for a better one?
Do you need an agent at all? Consider this: Virtually every
director finds and signs their first life changing deal without
the aid of an agent. That first low-budget movie. The first
music video that lights the kindling that starts the fire that
will become your career. No agent on earth can light that fire
for you. Nobody in the directing trade gets "discovered." BUT,
once you start a merry little blaze no one can turn it into a
roaring bonfire like a good agent. So if your excuse for not
working is that you have the wrong agent or no agent at all,
that may be just what it is. An excuse.
- where are the TURNING POINTS (of each scene and act)
- who is the MOST INTERESTING CHARACTER (not always the main character)
- what is the INTENT of the scene (what is the scene needed for)
- what are the MAIN ELEMENTS of the scene (points to get across to the audience)
Film jobs are hard to find, but for the fortunate few, very
rewarding. The key is not to set your goals so high that
they cannot be attained. By that I mean, if your goal is to
be in the next big Brad Pitt film, and you're a relative
unknown, you're probably setting yourself up for
disappointment. But there are plenty of film jobs that you can get.
Jeff Anderson knows his films. He knows what to look for and
what pitfalls to avoid. Let him guide you to finding out
more about films. Contact him at mailto:Jeff@filmington.com
or visit the blog at his site http://www.filmington.com.
-------------------------------------------------------
1) Careerfilm.com - http://Careerfilm.com/
2) FilmStaff.com - http://www.filmstaff.com/
3) Film and TV Jobs - http://www.ProductionAssistantAssociation.com/
4) Jobs in the Film Industry - http://www.skillset.org/film/jobs/index_2.asp
5) Television Job Links - http://www.tvrundown.com/resource.html
6) Hollywood Creative Directory - http://www.hcdonline.com/jobs/default.asp
7) Mandy's Film and TV Production Directory - http://mandy.com/
8) Jobs in Film - http://www.101hollywood.com/wwwboard/wwwboard.html
9) Crew-Net.com - http://crew-net.com/
10) ProductionLeads.com - http://www.ProductionLeads.com/
=======================================================
5. PRODUCT REVIEW - MOVIE MAGIC SCHEDULING TUTORIAL
=======================================================
To get your discount rate, when you click on the GIP Ltd Order
Form, just check the SCHEDULING TUTORIAL - ACP FULL DISCOUNT
box at the bottom of the page.
http://www.schedulingtutorial
=======================================================
4. FEATURE ARTICLE - MAKING IT in Film Production!
=======================================================
Let's pretend for a moment that you've met a hot new Writer,
Director, Actor or Executive Producer, etc. with a script.
Whoever you meet, they'll be in love with their script and
they'll be very excited to talk with you about it. They want
someone interested in their baby and they want someone to
contribute to its success in any way. After the first _ hour
or less, how do you segue into being their Film Director,
Line Producer, Producer or UPM?
You already know the creative side of things. But, have you
thought of translating those creative ideas into money? Here
are some real questions that would knock their socks off and
show that you're the one to 'Direct the Money' (if you're
foggy on some of these terms, be patient, you'll be very
familiar with them after a little reading):
3) What kind of bottom line do you have in mind for the final budget?
7) If union crew are planned for, find out how many shooting
hours a day are planned for? (Insist on at least 13 worked
hours per day, as well as a storyboard artist)
You get the idea. You need to know the 'lingo' of budgets
and you need to understand that those budgeted numbers need
to be directed. You'll also need to inspire confidence in
the Financiers, or the Bonding Company, that you know what
the weekly financial report card is all about (that is, the
universally standard Weekly Cost Report).
If at
any time you need help, you can always email me by visiting
my web site http://www.talkfilm.biz and I'd be happy to
point you in the right direction.
When you read my articles, print them out. Make your own
examples. Reread them. Send me your questions if you get
stuck. You'll find that you'll be way out in front of the pack!
Cheers,
Email: mailto:articles-7@talkfilm.com
=======================================================
4. FEATURE ARTICLE - Directing the Money
=======================================================
This Weekly Cost Report process is where the fun begins and
you'll need to be familiar with the many in's and out's of
cost reporting. How the costs are gathered together is a
technicality belonging in the realm of accounting - what you
need to know is the importance of the Weekly Cost Report,
and how to 'Direct the Money' by knowing how to acceptably
manipulate the reporting process to show an honest, but
credible presentation of the production costs. It is THE key
report card presented to those with the money behind the
film production. It's presented to the Financiers/ Studio
Execs/ Bonding Company every week, on every financed film
production on planet earth, period.
When you read my articles, print them out. Make your own
examples. Reread them. Email me if you get stuck. You'll
find that you'll be way out in front of the pack! For the
full information, simply click this link Walk The Talk to
buy the book.
Cheers,
=======================================================
4. FEATURE ARTICLE - Translating Ideas Into Money Talk
=======================================================
Usual Way:
As the Director you sincerely express your view that the
Oklahoma shot would be a perfect opening for the movie. What
kind of response do you think you'll get? Here's the most
likely, from my experience:
Usual Way:
Line Producer/Director: The Director wants to replace the
opening scene with a shot of the fields from over 100 feet
up, viewing the pond at about a 45-degree angle to the pond.
Then the Director wants it to slowly swoop down to the
surface of the pond where we'll focus on the car's outline
in the murky depths.
----
When you read my articles, print them out. Make your own
examples. Reread them. Email me if you get stuck. You'll
find that you'll be way out in front of the pack! For the
full information, simply click this link Walk The Talk to buy the book.
Cheers,
=======================================================
3. FEATURE ARTICLE - Five Good Producer Skills
=======================================================
If you are the person who can't find his keys and has no
idea how much is in your checking account, you need help.
Get organized. There is simply no substitute for it.
Buy a book about getting organized. I recommend "How to Get
Organized When You Don't Have The Time" by Stephanie Culp.
http://snurl.com/gqg5 Or take a Franklin - Covey course. Do
whatever you have to do, but get organized.
When negotiating rates, know the maximum you can pay for any
one line item on your budget and try to shave 20 or 30
percent off of it. If they negotiate up, you may still save
15 percent or so off what you expected to pay.
And fifth, of course, you will need energy. Lots and lots
of energy. Caffeine helps to get you started after only a
few hours sleep, but it is no substitute for real, healthy
human energy. One of the things you must do during
pre-production is get yourself in shape for the rigorous
weeks of shooting. You're in training, not for a sprint,
but for a marathon.
After you have these five basic producer skills down, you
will be ready to develop your knowledge of the filmmaking
process and the entertainment industry, by producing a
successful independent film.
-----------------------------------------------------------
Angela Taylor is a Hollywood producer, and a seven-time
Telly Award winner. She teaches Independent Producing at
http://hollywoodseminars.com
=========================================
=============
4. FEATURE ARTICLE - Using Music Legally in Your Work
=======================================================
Q: WHAT IS A COPYRIGHT?
A: Here are the licenses you need for the right to use music
in your media project:
Once you have paid the music publisher for a Sync License
and the record company for a Master Use license, you have
the legal right to use the music in your production.
*****Sidebar*****
This article is about music that is under copyright and NOT
in the public domain. Music written before 1933 is in the
public domain and can be used without having to acquire a
synchronization license (you still need a master use license
if you use a recording of a piece in the public domain).
Music written after 1933 is still under copyright according
to US law. I hope to discuss the public domain in more
detail in a future article.
******************
-----------------------
John Bickerton is Creative Director for the UniqueTracks
Production Music Library. He writes the monthly
e-newsletter "Underscore - Secrets of Successful
Soundtracks", published by UnqiueTracks. Click to subscribe
http://www.uniquetracks.com/Newsletter.htm
--------------------------------------------
=======================================================
6. FEATURE ARTICLE - Filmmaking - What Is A Pro?
=======================================================
Answer: Paycheck.
That's the short answer, but anything longer is just
embellishment. It's one thing to make movies. It's a whole
different animal to get somebody to cut you a good check,
for the work you've done.
Some don't become a Pro until many paychecks, but you can
have a Pro attitude right now, even if you've never been
paid for doing your art. If you adopt the Pro attitude now,
you multiply your effectiveness many times, and shorten the
time until those paychecks come in.
A person with a Pro attitude has aligned his brain cells and
unconscious mind, so every action and thought is geared
toward one outcome - to be paid for his work, what his work
is worth. This has many benefits, chiefly the quality of
his work improves.
Once you do, your natural love of your Art has a chance of
being fulfilled. Until you do, you're just floundering.
-----------------------------------------------------------
Sam Longoria is a Hollywood producer, working in film since
1970, in a variety of jobs. His work graces several
Oscar-nominated films, and one Oscar winner. Sam teaches
Independent Producing at http://hollywoodseminars.com
=======================================================
6. FEATURE ARTICLE - Music Licensing
=======================================================
*****************************************
Steve Veloudos owns and operates Zebra Music LLC. It's a
one stop shop for jingles and library music. Visit Steve's
web sites and get free monthly music that you can use for
your productions.
http://www.zebramusic.com
http://www.buyoutdb.com
zebra24@msn.com
480-540-7768
=======================================================
7. FEATURE ARTICLE - Digital vs. Film
=======================================================
Production dates
Type of project
Format to be shot on
Formats to be output on
Sound Completion requests
Special requests (FX/Sound/Colour/Titles)
Project due date
Presume that you film each day and send the film and sound
to the lab for the dailies to be processed and the sound to
be synced and transferred to a format that you can have your
editor begin capturing and cutting. It is at this time
that the film goes through a process known as the '3:2
pulldown' to be converted to a digital tape. The 3:2
pulldown is where 24fps (film) is converted to 30fps (film).
-----------------------------------------------------------
Kulwant Rajwans graduated in Film Studies from Ryerson
University in Toronto, Canada. He formed his own production
company and has directed numerous short films and TV
Commercials. He is currently in pre-production on his next
film expected to be completed fall 2006. Kulwant can be
contacted at: mailto:krajwans@rogers.com
=======================================================
10. FEATURE ARTICLE - Importance of Securing Chain of Title
=======================================================
=======================================================
10. FEATURE ARTICLE - Producing Films for the Internet
=======================================================
2. Make sure that your movie plays smooth when played over
the internet. (encode for max viewers)
Billy Schwarz
Executive Producer High Tec Productions
http://www.hightecproductions.com
mailto:sysop@hightecproductions.com
(956)-565-5589
=======================================================
7. FEATURE ARTICLE - INDIE Financing
=======================================================
But once you have the film 'in the can' (no easy feat), how
do you move from a couple of master DVDs with the 'Sharpie'
marked hand-written title inside a secondhand CD case, to a
pile of cardboard boxes full of shiny new, retail-ready
DVDs, with UPC barcodes and polywrap sitting on your doorstep?
Instead, look for a partner who offers good pricing and tries
to simplify the process. Make sure you are comparing the
same thing when shopping around and watch out for hidden
extras, like overage (where the replication company makes an
extra bunch of discs and then expects you to pay for the
extras). Watch out for setup fees, glass mastering fees,
extra costs for offset printed discs, extra costs for
3-color vs. 5-color artwork.
-----------------------------------------------------------
Morris Anderson is the co-Founder and CEO of PacificDisc
Inc. - a smaller, more boutique replication company that
specializes in helping first-timers through the CD or DVD
replication process. Morris has over 20 years experience in
the production field, having run three Television stations
and an Independent Production Film company, prior to
founding PacificDisc, Inc. To learn more about CD or DVD
Replication or to partner with a first-rate DVD Replication
company, visit http://www.pacificdisc.com
-----------------------------------------------------------
=======================================================
5. FEATURE ARTICLE - Good Inexpensive Production Music
=======================================================
-------------------------------------------------------------------------------
Michael is an EzineArticles.com Expert Author. You can read
more film articles by Michael at
http://ezinearticles.com/?expert=Michael_Sweeney
--------------------------------------------------------------------------------
=======================================================
7. FEATURE ARTICLE - Filmmaking and Directing in Jordan
=======================================================
Introduction :
- On-line references
- Film reference books
- Biographical books
- Articles about director
- Collection of film criticism
- Watching latest movies
- Workshops and seminars…etc.
mailto:sandra@blazeagency-jo.com
mailto:blaze_agency@yahoo.com
Kindest regards,
Sandra Kawar Samain
Producer-Director/ Jordan
=======================================================
8. BUSINESS AND ENTERTAINMENT LAW TIPS
=======================================================
-----------------------------------------------------------
Jindra Rajwans is a business and entertainment lawyer in
Toronto, Canada. The entertainment area of his practice
focuses on providing legal services to writers, directors,
producers, actors, musicians or other professionals, and
companies in the entertainment industry.
http://www.rajwans.com
mailto:jrajwans@rajwans.com
416.323.5777
=========================================================
6. FEATURE ARTICLE - Breaking Free of Structure Paradigms
=========================================================
Your first draft is the place where you get to break all the
rules. If it helps you, don't bother writing it in script
format. Write in any format you like as long as the format
allows you the utmost freedom to create. Eventually, you'll
become so adept at writing in script format anyway; it will
become the format that unleashes your creativity most effectively.
-----------------------------------------------------------
Michael Adams is a screen writer and script consultant who
lives in Vancouver, Canada. He has been writing for 12 years
and has written or co-written 19 feature length screenplays.
This is also the time to get to know your crew, the people
that will be supporting you for the next three months. It is
much better to get to know the key members of your crew in a
less stressful atmosphere than that of a busy film set.
-----------------------------------------------------------
Rob Young C.A.S. is a veteran of over 35 years recording
sound for motion pictures. Starting in documentaries in the
early seventies he moved into feature and television sound
about 1975 working as a boom operator for American feature
films. As a production sound mixer Rob has worked with
directors such as Clint Eastwood, Edward Zwick, Sean Penn
and Bryan Singer. He as an Oscar nomination and two British
Academy Award nominations as well as one for the Genie
Awards, Cinema Audio Society and two MPSE Golden Reel
nominations. He is the subject of a one act play, 'The Sound
Man' which premiered in New York in 1999. Most of his work
is in Vancouver, Canada where he lives.
-----------------------------------------------------------
Beyond three and four act story structure, lies the Hero's Journey.
Often the Hero has left his Ordinary World knowing that he
has broken an Interdiction. As such, it is not unusual to
find that the Journey to the Mentor takes place at night and in haste.
The Hero may undergo a near death experience on the way, and
may be saved by the Mentor – who may use his own magical
powers. This demonstrates the superior nature of the Mentor
and the status relationship between them.
The Mentor will seem to know the Hero, as if privy to some insight.
The Hero will relate the Call to Adventure and the Mentor
will intuitively understand it (and may have had previous
experience of it) and likely encourage the Hero to embark on it.
----------------------------------------------------------
ABOUT THE AUTHOR - Kal Bishop is a management consultant
based in London, UK. He has consulted in the visual media
and software industries and for clients such as Toshiba and
Transport for London. He has led Improv, creativity and
innovation workshops, exhibited artwork in San Francisco,
Los Angeles and London and written a number of screenplays.
He is a passionate traveller. He can be reached on
http://www.managing-creativity.com/
---
NOTE: If you would like assistance with this, email
mailto:info@abundancebound.com and put "Chart of Expenses"
in the subject line. We will send you an Excel chart that
allows you to track your monthly income and provides an
extremely detailed list of possible expenses to help you
remember all of the different ways you are currently
spending your money. There are also free tele-seminars that
will help make sense of this process. See AbundanceBound -
Financial Education and Planning for Actors and Artists for
details at: http://www.abundancebound.com
---
----------------------------------------------------------------
Miata Edoga studied acting at Williams College, MA, and at
the Royal Academy of Dramatic Arts in London. Five years ago
she realized that the only way to guarantee the career she
wanted was to do it herself, and so started educating
herself about finances. This led, two years ago, to the
formation of Abundance Bound, Inc http://www.abundancebound.com,
a company who's mission is to develop a community of actors
able to pursue their financial goals free from the crushing
weight of financial stress.
----------------------------------------------------------------
If you are not busy making your movie, you should get busy
making your movie. "How can I start," you whine, "when I
don't have any financing?" I know it seems you can't roll
film or tape until you have some money, but your lack of
funding isn't permanent, is it? You will have money at some
future time, won't you? You must have faith that things will
get better, or they won't. So that's a good place to start.
Have parties, where you and your friends read it aloud, just
like doing a radio play. Take note of audience response, and
revise accordingly. After each revision, read it again, and
again. When funding comes through, you will know your script
inside and out and upside down. You'll know the scene
numbers, without looking at the script.
----------------------------------------------------------------
About The Author Angela Taylor is a Hollywood producer, and
a seven-time Telly Award winner. She teaches Independent
Producing at http://hollywoodseminars.com © 2005 Angela
Taylor, All Rights Reserved.
----------------------------------------------------------------
Just like in real estate, when you leave the studio (if you
were ever in one) one of the biggest factors to a good
shoot, is location, location, location. I've been on many a
location scout and have seen some great location and so not
so great locations. One of the biggest things when seeing
what looks like a great location is you have to think will
it work logistically. The factors to locations are cost,
sound issues, power and logistics. We'll break those down in a minute.
COST
This is the easy one, either can afford the location or you
can't. A good producer might be able to wheel and deal a
better price. Sometimes you have to use some imagination
with a place that doesn't quite work, but is affordable.
This is where the director has to envision the shots he will
need. There’s a famous story from Akira Kurosawa when he was
asked how he achieved a "perfect" frame for a period film he
directed and he said, if I had panned to the right there was
a modern factory and if I panned to the left, there were
power lines, so the frame was set. I've been on scouts where
people have said the location wouldn't work because of some
factor, but after talking with the director, we realized
that element would never be on camera.
SOUND ISSUES
POWER
LOGISTICS
Where the heck are the cast, crew and equipment vehicles
going to park? A film production takes up a lot of space so
there better be parking. How do you get all the gear to the
location? Are there elevators or is the crew going have to
drag a ton of equipment up four flights of stairs? Exterior
locations have these same concerns. I’ve had to hike about a
mile uphill for a shoot with gear on my back and in each
hand which ain't fun, but you gotta do what you gotta do. Do
that six times to start and end your day and you’ll think
twice about that location.
Now you and your stuff are on set, but where do you put
people and extra gear when they're not working? All the
grips and cast not on camera need someplace to hang out
while shooting is underway.
Do you have a place for the cast and crew to eat? Is there a
large space so everybody sit together and eat? That's a
great way to build camaraderie (as long as the food is good,
but that's a whole other topic.) If you don't feed people on
site, are there restaurants nearby. Be careful letting cast
and crew loose upon the world because they'll all come
staggering in a few minutes late with the excuse that the
waiters were slow or some other problem.
PAPERWORK
FINAL THOUGHTS
----------------------------------------------------------------
Scott Spears is an Emmy Award winning Director of
Photography with 14 features under his belt. He's also
written several feature screenplays, some of which have been
made into movies. You can learn more about him at
http://www.scottspears.net
----------------------------------------------------------------
=========================================================
8. FEATURE ARTICLE - Using the Internet to Find Funding for Your Film
=========================================================
"Using the Internet to Find Funding for Your Film"by Ryan Vinson
Web 2.0
There are several ways you can use the internet to your film
funding advantage. First, you can set up a social network to
solicit funding and private investments from friends and
family who support your work. With the advent of Web 2.0,
you can literally create your imprint on a social media
site, publicize your work and what you are trying to
accomplish, and draw people to it, including investors. Many
social media sites provide great networking tools that work
just like word-of-mouth advertising, only virtual. Plus you
can keep your investors and friends updated on your
progress, marketing and release of the finished product!
----------------------------------------------------------------
Ryan Vinson is the founder of VersusMedia, a marketplace
that links independent filmmakers with musicians with the
common goal of obtaining music for films. The company has a
strong following in the independent film industry, and has
assisted over 900 films to date. For more information, visit
http://www.versusmedia.com
----------------------------------------------------------------
I know you've been told this many of times, but it's true.
Just like a horror movie where the villain chops up everyone
at the sleep away camp (one location), your hero is going to
beat them up, all at one location, like a bank or warehouse.
Once you have your cast and crew, now comes the daunting
task of trying to schedule everyone to show up at the
location. If anything, this is where you will pull your hair
and your patience will wear thin. Remember, you have these
people coming over to shoot your movie for free, so be nice.
In my case, by the time I had a commitment from everyone on
their available days, my location was going to be torn down
in one week - giving me only Friday night, Saturday, and a
Sunday to shoot. Lucky for me, I did my homework, and was
able to scale down my shot list, and I scheduled everything
to be done in that weekend.
Now that you have your short in the can, there are two more
words besides "Action" and "Cut" that you should use for
your cast and crew, and that is "Please" and "Thank You."
Remember, they went out of their way to help you get your
short off the ground. And make sure when you're done cutting
it, that they are the first ones to get a copy.
http://www.ifilm.com/video/2926967
And at
http://www.myspace.com/roninfilmstudios
----------------------------------------------------------------
Alfredo Quinones is a filmmaker and owner of New York based
Ronin Film Studios, Inc. He has worked on independent movies
and commercials as a director, camera operator and fight
coordinator. He has a background with over 20 years in
martial arts and 17 years in film and video. He has trained
with stuntman/effects coordinator Brian Shuley who he has
worked with as a fight coordinator and stunt safety.
http://www.roninfilmstudios.com
=========================================================
8. FEATURE ARTICLE - Using the Internet to Find Funding for Your Film
=========================================================
"Using the Internet to Find Funding for Your Film"by Ryan Vinson
Web 2.0
There are several ways you can use the internet to your film
funding advantage. First, you can set up a social network to
solicit funding and private investments from friends and
family who support your work. With the advent of Web 2.0,
you can literally create your imprint on a social media
site, publicize your work and what you are trying to
accomplish, and draw people to it, including investors. Many
social media sites provide great networking tools that work
just like word-of-mouth advertising, only virtual. Plus you
can keep your investors and friends updated on your
progress, marketing and release of the finished product!
----------------------------------------------------------------
Ryan Vinson is the founder of VersusMedia, a marketplace
that links independent filmmakers with musicians with the
common goal of obtaining music for films. The company has a
strong following in the independent film industry, and has
assisted over 900 films to date. For more information, visit
http://www.versusmedia.com
=========================================================
7. FEATURE ARTICLE - A Conversation with Cynthia Wade
=========================================================
Q: You lived with them for eight weeks. How was that
companionship?
Q: How was the majority of the $350,000 cost for this film spent?
It was a bit crazy – When the rough cut was accepted into
Sundance, which hadn't happened before for me, I had no
money to finish it or get on a plane. I owed my editor and
sound mixers a lot of money. We decided that the best hope
for funds was to get the film out into the world and share
Laurel's story with people. I got the commitment for my
first two major grants just weeks before the Sundance
premiere. At the 8:30am screening in Park City, there was a
funder in the audience and 48 hours later I got a text with
a significant commitment. From then on, I was able to raise
additional funds, pay back the production debt and then
raise the money for our Oscar qualifying run. So the gamble paid off.
Q: How do you think Laurel would feel about the film being
nominated for the Academy Award for the best short documentary?
The most difficult part is the not knowing where things will
lead – not knowing where the story will take you, not
knowing how you will find the money, not knowing the
outcome. However, it's the most exciting part as well. All
of it is like a treasure hunt. There’s something so
exciting about making something out of nothing. Yes, the
hunt for money can be demoralizing, and yes, it can take
years. But, to me, trying all these doors is like in Alice
in Wonderland. Eventually, one of those doors opens and you
slide down the rabbit hole. That's really exciting to me —
I love that part. When a new film takes you by the
shoulders, looks you straight in eye and starts demanding
"You have to make me!" – Well, when that happens, you have
no choice. You are off and running!
----------------------------------------------------------------
Stephanie Riggs has directed and produced theatre and film
productions in San Francisco, Los Angeles, Hong Kong, and
New York. Her producing credits range from television pilots
and independent films to the critically-acclaimed live
comedy show "The Ian Bagg Show", which attracted guests such
as Chris Rock and Jim Gaffigan. As a director, Stephanie's
theatre work has ranged from developing the work of emerging
playwrights at the Playwrights Center of San Francisco to
directing World Premieres of Academy-Award winning writers
Off-Off Broadway. The independent films she has directed,
including the sensational feature documentary "Some Assembly
Required" and narrative short "Bystander", have won awards
and screened all over the world. As a freelance
entertainment consultant, she has developed content for
Disney Creative Entertainment, HBO, and Louie Anderson's 33
Productions. Stephanie continues to consult multi-million
dollar entertainment ventures while directing a
feature-length documentary on an Arizona
Can you imagine going to a concert and having the band only
recite the lyrics of the songs while playing none of the
music? Wouldn't you feel ripped off? You'd demand your money
back, and rightly so, because without the music it wasn't a
concert, it was only a lot of talk. Far-fetched as this
example is, it's analogous to what I'm encountering more and
more, both directly and anecdotally, in my work with
actors. Rewrite that first sentence to read: "Can you imagine
watching a play/film/TV show and having the actors only
recite the lines of their parts while playing with none of
the life?" and the parallel is exact (except for the "demand
your money back" part, since audiences seem more and more
willing to accept lifeless recitation as a substitute for
acting as long as the actors are hot.)
How has it come to pass that we now have many actors who are
intently focused on how they look, clear about what they're
saying, and clueless about what they’re doing? While I'm
sure many factors have contributed to this, my suspicion
falls most heavily on the role of technology. Not so long
ago there were many forms of entertainment that required the
active participation of the audience's imagination, for
example reading and radio dramas. Now they're losing ground
to film and television where nothing is left to the
imagination and all the sex and gore is vividly thrust at us
in high def and Dolby. As a result, people's imaginations,
that used to actively augment the words with images, have
atrophied, rendering their relation to material passive.
Nowhere is this more evident than in the toll it has taken
on actors. Where once they would picture the life embedded
in a line, now they're content to memorize and recite it.
-------------------------------------------------------------
Anthony Abeson, who has conducted group acting classes and
private coaching for actors for over 25 years, was a
breakthrough coach to such now famous actors as Jennifer
Aniston, Esai Morales (NYPD Blue and Jericho), Ellen Pompeo
(Grey's Anatomy), Ian Somerhalder (Lost), Lisa Vidal
(Numb3rs), Cedric Sanders (The Ten) and many others. Mr.
Abeson, who teaches in Manhattan, studied with all the
greats, including Peter Brook at the Centre International du
Recherche Theatrale, Paris; Jerzy Grotowski at the Instytut
Aktora, Wroclaw and Brzezinka, Poland and the Centre
Dramatique National du Sud-Est, Aix-en-Provence, France; Lee
Strasberg and Harold Clurman as a member of the Directors
Unit of the Actors Studio and Stella Adler at the Stella
Adler Conservatory, New York.
The film composer tells the story with music. The actors
tell the story with action and dialog. The editor tells the
story with editing. The sound designer tells the story with sound.
10. When everyone is doing their job and working towards the
same goal, anything is possible.
14. Treat your crews well and they'll recommend you for jobs.
30. If you get behind in the schedule, figure out what you
can lose, or find more money for overtime.
35. Build it all up. Wait for it to fall apart. Then build
it all up again.
36. Do what's best for the project, not your ego or some
other agenda. It keeps it all simple and "clean".
37. Don't put the chocolate out on the craft service table
until after lunch.
38. Hang out at the back of the Grip Truck if you want to
know what really is happening on set.
40. Change your shoes after lunch. Your feet will thank you.
41. Figure out your own strengths and weaknesses and then
hire others to fill out your areas of weakness.
47. Don't always go with the lower price - there's more than
just money to consider.
48. Get a good caterer. it makes for a happy and productive crew.
50. You can only have 2 out of the 3, pick which ones you
need: FAST, CHEAP, or GOOD.
-------------------------------------------------------------
50 Things to Know About Film Production
http://www.gadget-playground.com/easy-filmmaking.html
-------------------------------------------------------------
Sam: I get asked this question a few times a week and the
answer is simply this. The agents only make 10%, so unless
you are someone who has a hit, and that they can introduce
around town, they will be spending more of their time with
their money-making clients. I strongly suggest that at least
for the first few years or until you get a major
opportunity, be your own agent. It’s a great way to learn
about selling and pitching your film and you will make
valuable contacts. Another great place to network is your
local film festival and film events. Go and introduce
yourself and start building your Rolodex. I get into this
in one of the lectures. I personally have over 5,000
contacts and my list is still growing. Like I said, this
is a business first and foremost and you have to treat this
seriously – and no one will ever be able to sell you as well
as you can sell yourself.
P&P: What are you seeking in a script? What makes you want
to produce a film?
P&P : Wow, that sounds exciting! Thank you for your time
today, Sam, and we hope that everyone takes you up on your
filmmaking lecture series offer.
-------------------------------------------------------------
Sam Heer can be contacted via email at
mailto:123film@scribesunlimited.com.
-------------------------------------------------------------