Tag Archive | "Filmmaking help"

10 Guiding Principles for Aspiring Film Makers

cinema ticketI have always been obsessed with creating excellence in everything I do. In my quest for excellence as a film maker, I have traveled the world learning the tools and techniques as a result of being on the ‘front line’, filming in countless different environments in almost every continent (I never got to Antarctica!). However, no matter where and what I was filming, the approach in each and every case was fundamentally the same.

There are some guiding principles that drive what I do. I thought I would share 10 of the main ones here with you today. Then, in future posts, we’ll move onto the specifics of increasing your film making confidence and knowledge as rapidly as possible.

So here are my 10 guiding principles for success as a film maker. I’ll be coming back to each of these in detail in the weeks and months ahead:

1) Most aspiring film makers are not confident enough to go out and shoot for money. It’s only the lack of knowledge that prevents their confidence from brimming. I remember my first ever shoot for the BBC, I was petrified I’d mess it up, sweating nervously. Just simply because of a lack of experience and knowledge (at that time). There’s no short cut here, but I can accelerate this for you.

2) If you’re not out shooting projects, you’ll never get over the confidence hurdle. Experience comes from making lots of mistakes, but learning fast! I have got literally dozens of stories of screwing up on location, yet I was always working. The secret is knowing how to fix a problem, always have a Plan B.

3) What defines a film maker anyway? And who has the right to say you can’t be one? You don’t need to spend huge sums on all the gadgets or the very latest kit AND it DOES NOT and SHOULD NOT prevent you from creating great work. But knowing how to do it on a budget, there’s the magic formula! Buying ‘stuff’ is really easy…. making stuff takes some effort.

4) You have 8 seconds to make an impact on a new visitor to your website. If you don’t get them in the first 8 seconds, they’ll move on to the next site, so if you want them to watch your film, better make the opening shot count! Try this next time your ‘browsing the web’, ask yourself “what’s interesting for me?”, “what am I looking for?

5) Execution is the greatest tool available for film making success. Becoming great at realising your vision and ‘making it happen’ will make you a confident and great film maker. There’s only so much theory you can consume before you have to apply yourself.

6) If you shoot for money, your prices are almost certainly too low. But if you don’t have the confidence to charge more, perhaps this is holding you back. There’s a commonality amongst creatives and it’s about money, have you ever felt that it’s almost ‘frowned upon’ to charge ‘too much?’. Let me tell you something, those people who frown only do so because they’re envious. Be proud of your prices. If you truly believe that you give your clients exceptional service and value and that they benefit, then you are providing huge value, just make sure you reflect this in your pricing. Think about it, when do you ever buy anything that’s so important and look for the ‘cheapest’?

7) Being a Film maker can be tough, but just being a spectator is much, much worse. You’ve made the right decision (or maybe you’re about to make the right decision). Film making is one of the most rewarding vocations ever and there has never before been so many platforms on which to showcase your work. But more exciting are the number of businesses you can approach to create compelling films that will not only be creative wonders but also help the client promote their product, service or widget. Make films and get paid? Imagine!

Everyone can learn to be a great film maker, it’s a choice. Nobody will tell you this but becoming a confident and successful film maker is actually fairly straightforward. Study and duplicate success. It’s (almost) as simple as that.

9) The most important factor in creating film making success is your mindset and thinking. That’s why a significant proportion of my work is focused on building your confidence and teaching you how to follow a process when shooting. Once you master this, you will be amazed at how easy it is to replicate in ANY situation.

10) Nothing I tell you will ever be theory. I can now go into any situation, light it, shoot it and know with absolute certainty that it will edit together well and look fantastic but getting there was not always easy. All my skills and experience were developed in ‘the trenches’. If I can save you from some of the hurdles I had to jump over, I will have done a good job.

About this Author: Den Lennie is an award winning veteran of a 17 year career in television production with credits as Lighting Cameraman, DOP, Producer and Director. He’s worked with broadcasters, production companies and top film-makers from all over the world, filming in nearly 50 countries. The list of people Den has personally lit and filmed reads like a Who’s Who of celebrities from the world of cinema and music: Ewan McGregor, U2, Bon Jovi, Liam Neeson, Kylie Minogue, Mel Gibson, Noel Gallagher, Robbie Williams, Christina Aguilera, Tom Cruise and Naomi Campbell are just a few of the names Den has captured on film or video. He’s worked at the World Music Awards in Monte Carlo, the MTV and Mobo awards ceremonies and at London Fashion Week. Den’s career has also taken him into the field of news and documentaries, of property and travel programmes – winning Royal 2 x Television Society awards in the UK.

He now dedicates all of his time when not filming to http://www.fstopacademy.com an alternative film making education resource offering Online Film Making Courses, Practical Training, Mentoring and Hands on Workshops for Aspiring Film Makers Who Don’t have the time or desire to go to film school.

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Is Being a Film Director Right for You?


To many cinephiles, nothing is more thrilling than the idea of directing a film. From choosing a team for a project, to developing a vision for the movie, to working with actors to realize that vision – it’s simply tops when it comes to excitement. If this sounds like you, then maybe you’ve considered becoming a director… but how can you know if it’s the right choice for you? Here are 5 steps to help you with the decision.

Step 1 – Think about who you are.

Film director schools prepare students for the world of cinema. It’s an exhilarating world to be sure, but also a tough one which demands perseverance. So take a moment to think about your personality. Are you truly passionate about film? Are you the type of person who is discouraged easily? Try and be as honest as you can in your self-assessment.

Step 2 – Read up about the career of less famous film directors.

It’s easy to read about the Steven Spielbergs and the Roman Polanskis of the world, but the truth is most film directors don’t command eight-figure salaries. Do some research online about the “less famous” directors working today. What is their lifestyle like? How did they find success early in their careers? Which film schools did they go to? By researching the answers to these questions, you’ll develop a greater understanding of the reality of typical film director’s career.

Step 3 – Visit a film director school.

Many film schools in Canada offer open houses, where prospective students can visit the campus and talk with teachers. Find some schools in your area, visit them, and take a moment to talk with the instructors who work there. Many film schools employ working directors in their programs. Chat with these director/teachers to get first-hand knowledge of the position, and the industry.

Step 4 – Shadow a film director.

Call your local film director school and ask to talk with an instructor who is a director. Ask that director if they’d mind if you shadow them the next time they’re directing a movie. “Shadowing” means you literally watch the director work, and in that way, develop a greater understanding of the person’s role.

Step 5 – Enrol in a film director school.

If you’ve done steps 1 to 4, and you’re convinced that being a director is right for you, then the last thing to do is to take a look at some film schools in Canada, and enrol. As a student, you’ll spend all day learning about the field, and this total immersion in film director school is the last step to help you decide if being a director is the career you’d like to pursue.

About this Author: Contact the Trebas Institute for more information on their film director school.

Percey Evans is a freelance writer who works for Higher Education Marketing, a leading Web marketing firm specializing in Google Analytics, Education Lead Generation, Search Engine Optimization (SEO), Mobile SMS Alerts, Social Media Marketing and Pay Per Click Marketing, among other Web marketing services and tools.

Article Source: http://EzineArticles.com/6716823

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Difference Between Regular 8mm Film and Super 8mm Film

8mm filmThe Regular 8mm and Super 8mm Film are the most used film format of all time. The Super 8mm is regarded as an easy but high quality alternative to the Regular 8mm. Frequently, Super 8 and 8mm are terms used interchangeably. However, there are key points that differentiate one from the other.

Eastman Kodak introduced the Regular 8mm in 1932 to the market as a cheaper alternative to the 16mm. Not long after, it became a popular format for home movies and low-cost film productions. More than three decades later, Kodak released the Super 8mm, which, as the name suggests is a hybrid of the Regular 8mm. It was able to record sound and provided improvements both for image quality and ease of use and thus, became the preferred low-cost format. In the 1980’s, with the advent of VHS and VCR tapes, both Super and Regular 8mm suffered significant reductions in terms of consumer preference.

Super 8mm have sprocket holes that only cover fifty percent of the width required by Regular 8mm films. Consequently, this allows Super 8mm film area to be larger than the Regular 8mm. This enables Super 8mm to capture more details. Physically, Regular 8 mm can be differentiated from Super 8mm films through the size of its sprocket holes. The sprocket holes of Regular 8mm are larger and run the top and bottom of each frame while Super 8mm have smaller sprocket holes that are aligned at center of each frame.

In terms of usage, Regular 8mm films are shot on 16mm films and run through the camera twice. It involves running the film through the camera once and exposing half of it, and then, the film is flipped and run through the camera again to expose the second half. Upon processing, the film is split at the center and attached at the ends which make a single roll of 8mm film that’s twice the length of the original 16mm roll. Using Super 8mm films is less tedious as they load easily into a camera and are sold in ready-to-use cartridges instead of reels which require threading. Super 8mm films only run through the camera once since it is originally an 8 millimeter film.

Transferring Regular or Super 8mm to DVD requires that you inspect them for scratches and lines as well as other defects. Some of these are repairable but others are not. Films stored in humid environments are more likely to have mold, mildew or fungus on them. Usually starting at the edges, it gradually works its way to the emulsion, damaging the film in the process. The damage can be stopped with chemicals especially if is contained in the outer edges. Damage in the emulsion can also be removed but it usually ruins the film irreversibly.

Another problem that arises with decades of time is shirnkage. You can manually test for it by comparing 100 strips of the film you want to test and 100 frames of a new film or a new white leader. A Shrinkage Gauge can be loaned from the Association of Moving Image Archivists but you need to be a member. Shrinkage of over 0.8% may damage the film if loaded on a projector. 2% shrinkage means that the film cannot be salvaged even by the most skilled professionals.

Most people transfer their Regular and Super 88mm films to DVD for better and more convenient viewing. If you are still hanging on to these decades-old media, don’t wait any longer. Memories are precious so it’s best to ensure that these once-in-a lifetime events are saved on a digital format that enables you to enjoy them to the fullest and will not degrade.

About this Author: Play it Again Video, an on-site film transfer lab located in Newton, MA has been transferring 8mm film to DVD since 1986.

Not sure what’s on your old 8mm, Super8 or 16mm film reels? Bring them in here and watch your film on our film viewer. There is no charge, no obligation, but you do need to call (617) 332-3300 to reserve the film viewer.

Article Source: http://EzineArticles.com/6719954

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Guide to Film Set Etiquette

directors chairEtiquette is very important on set and having bad etiquette can go as far as getting you fired or put on someone’s blacklist. Bad etiquette is something even the most experienced person is guilty of from time to time, but it is most common with people new to film sets. The problem is that most new, less experienced people especially ones fresh out of film school or kids that have taken online film courses have an uncontrollable desire to show you just how much they know or how good they can be at every job. What they don’t understand is that making those comments and suggestions or doing someone elses job is hurting their careers more than doing them good. Soon they will be known for having bad etiquette or being a know it all.

General Etiquette:

Drug and alcohol use is frowned upon on set.

Keep you mouth shut and your ears open.

Respect the chain of command.

Be polite, say please and thank you.

Learn people’s names. This is a big one, camera dept gets to cheat and tape the actors grid that’s on the call sheet to the camera, others aren’t so lucky.

Be watchful and respectful of your co-workers. Just because farting is okay on the grip truck doesn’t mean its okay in front of the talent.

Try to show up a little early. Do some networking, learn where the equipment is, read the call sheet, have a coffee. Do whatever it takes to prepare yourself for the day.

Arrive ready with the tools you need to do your job.

At top of day report to your department head, introduce yourself and be respectful.

When given instructions in person or over the walkie be sure to acknowledge by saying “copy” or “copy that”. Do not copy if you do not fully understand the instructions. Feel free to repeat back, ask questions or do whatever it takes to fully understand what you are being instructed to do.

When in need of a washroom break be sure to tell your boss! In film school we were told to ALWAYS tell the Assistant Director as well, that is great in theory, but on larger sets the AD has so much to deal with that they really don’t need to know which tech is pooping. You are fine as long as your boss knows and someone is around to cover you. Now, that goes for lower level crew mainly, as a Cinematographer or any higher up position the AD must be told.

Watch your boss and be aware of what is going on in your department and around you.

Work hard, but don’t over do it. ‘Work smart, not hard’ is a good motto to follow, but that doesn’t mean be lazy. Pace yourself, the days are long and there will be plenty of work.

Allow others to do their jobs, don’t be a hero. Don’t chirp in about things that have nothing to do with you or your department.

If you want to help another department ask them if they need it first. A simple “may I?” before moving a camera case or stand can save you a lot of grief later. The bigger the set the less likely you will be allowed to touch anything that doesn’t belong to your department.

Take a call sheet at the top of the day or print one the night before. In most cases many of your questions can be answered by looking at the call sheet

If on a longer job don’t be afraid to ask for a one liner, It can help you to be ready for future days.

Communication. When turning on a light, flying in track, dolly or anything in general call it out. Don’t just walk on to set with a 10 foot chunk of metal, that’s how people get hurt.

Do not just plug items into any available outlet. Never unplug anything. ALWAYS ask an Electric.

About this Author: http://www.howtofilmschool.com

Article Source: http://EzineArticles.com/6855950

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Making Movies and Film Investors

sundanceThere are extremely talented potential filmmakers out there that never make a movie because they just can’t bring themselves to take the leap of faith. Saying yes to making a movie starts with an attitude that regardless if your movie is entertaining or terrible at least you give it an honest go to see if you got the fire in you to make movies.

In the world of making of movies, especially at the indie film level, there are zero guarantees that every aspiring filmmaker that sets out to go from screenplay to distributed movie will make it to the end. Making movies is risky creatively and financially. Sometimes a movie falls apart during pre-production, filming or in post-production for lots of different reasons.

Making a movie to me is like gambling. You try your best as a filmmaker to tilt the odds in your favor as much as possible so you can win. Professional gamblers make educated bets and so should filmmakers. The one thing that successful gamblers and filmmakers need is the attitude that they are going to go all in on their movie making risk.

Saying yes to making a movie is really putting your ass out there creatively and financially. Many indie films are funded through family, friends, online movie crowd funding or your own cash. I’m still on the fence if it’s harder to say yes to making a movie with money from family and friends and your own pocket or to deal with film investors.
Honestly, using online movie crowd funding to me is risk free filmmaking. The people that donate aren’t giving you money expecting to ever see anything back or get a return on investment. It’s like gambling with a bankroll that’s free. When I donate money to the people that set up shop outside of stores I don’t expect anything back when I put money in the box or bucket.

It’s like lending money to that one relative or friend that you know will never be able to pay it back, but you like them and still want to help them out without holding it over their head.

When you use money from family, friends, your own money or film investors cash there is a much stronger sense to get the movie done in my opinion. No filmmaker wants to face family, friends or film investors and say they couldn’t finish the movie. Friends and family are always forgiving in the end, but you’ll still feel an emotional letdown if you can’t deliver a finished movie like you told them you would.

Film investors are not forgiving and will cut you off from future film funds. They can write off the loss, but your reputation will take a hit and you’ll lose out on them investing in your movies in the future. Finding money to make movies is harder than making the movie. Without film financing you only have a screenplay and a movie making dream keeping you company.

I always like to try to put out the brutal honesty first before getting to the feel good part of things. The great thing about saying yes to making a movie is you’re moving from being one of the people that only talks about making movies and never does it.

When you’re not even in the game you can’t win or lose. You sit on the creative sidelines as a spectator thinking “woulda, coulda, shoulda” about your movie making passion. When you mentally commit to taking the creative leap of faith you’ll feel a rush of genuine excitement. That’s living!

You’re movie making fire is now lit and you’re ready to roll. You’re no longer going to be a talented potential filmmaker. You will be a filmmaker doer. Each movie project is different, but here are few thoughts that might help sharpen you’re movie production. This isn’t for aspiring filmmakers that want to write a screenplay that needs a million dollar budget.

Thoughts on Making Movies

First, think of your marketing and distribution plan before writing the screenplay. This gives you the chance to think of movie product placement and other marketing avenues you can write into the screenplay to boost earning potential.

Second, before writing a screenplay think about the film budget you will need and where you plan on getting that money. Indie filmmakers are masters at writing screenplays based on what their resources are.

I know it sounds like the craft of screenwriting should come first, but for a first time indie filmmaker it’s important to understand making movies is a business. You need to be able to exploit, yes exploit, as many marketing and product placement opportunities as possible.

Family and friends will invest in you because of your relationship, but still respect their hard earned money like you would if they were film investors you didn’t know. Avoid being sloppy with paperwork. Give them the same kind of investor package you would if you were pitching to a film investor that wanted a return on investment.

Make sure the locked screenplay is tight as possible before spending one dollar of film investor money. A screenplay that is overwritten and packed with fluff will burn through production money fast.

During filming don’t take the approach studio budget movies do. You’re not going to be able to have 20 takes of scene to get it right. There’s not enough money in an indie film budget to shoot it with a Hollywood filmmaker mentality.

You’re really have to get in there on set and kickass on scenes. Not every take you’re going to love or even like, but it’s a time issue when shooting indie films. You have to be able to accept you’re not going to have the luxury of doing take after take.

When a scene is covered move on and don’t look back even if it didn’t turn out how you envisioned. Being take happy during filming will lead to you running out of money and having an unfinished film that will need finishing funds to complete.

Tackle post-production with the same attitude you did on set to get the movie done.

Film investors will ride your ass unlike family or friends when it comes to when the movie will be done, sold and their money paid. Don’t get shaken or take it personally. The business world is not warm and fuzzy full of hugs and kisses.

At the end when you finish your movie you will have a feeling like none you’ve ever had before. It’s a creative climax saying yes to making a movie.

It beats the hell out of only talking about making movies. Good luck with your future film and cheers.

About this Author: Get the inside scoop on writing, producing, directing, and movie distribution at Slice Of Americana Films. Check out the life and times of filmmaker Sid Kali.

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Screenwriter Options – Getting Your Movie Made

cinema seats

If you have written a screenplay and want to see it made into a movie, you have several options. You can submit it to Hollywood studios. You can also look for independent filmmakers, who may be looking for screenplays. Your final option is to make the movie yourself, learning some of the skills needed, and getting volunteers, or hiring experts to help make your movie. This article will cover the different options open to you as a screenwriter.

You can find the mailing addresses for Hollywood studios, and send your script to them. Unfortunately, they will usually send it back unread, as they do not accept anything which is not submitted by a literary agent. You can then try to get a literary agent to represent you and your screenplay, but it can be very difficult, as they usually want to represent writers with proven track records. You can also seek out independent filmmakers, who are more open to reading scripts by unknown writers. However, independent filmmakers almost always have several of their own movie ideas they are working on, and their own scripts take preference over those submitted by others. Or finally, you can make the movie yourself.

Many writers have turned their own screenplays into movies, and some have made a lot of money with their movies. With the digital video revolution, it is possible to shoot a high quality movie using an inexpensive video camera, and then do the editing on a home computer. Some writers have done this, becoming their own directors and producers, making their movie for under $10,000. But many writers who become first time filmmakers, do not finish their movies because the work involved can be overbearing, or they make a movie which is of low quality which has little chance of success.

I will outline here two low cost options for you as a screenwriter wanting to make your movie yourself. The first option is to learn the skills you will need to make your movie. You can take some workshops and seminars on filmmaking, and buy your own camera and computer with an editing program, and practice with both. You can then get some volunteer actors and crew members and make your movie. However, the best thing to do is to first make several short films, before you tackle your feature length movie. This way, you can learn as you go, making your mistakes on your short films, rather than your feature length movie. It is advisable to make at least 4 or 5 short films, to learn how to produce and direct a movie. If you have a regular job, and spend all of your free time making short films, you will do well to make 4 per year, with 2 or 3 being closer to the average. Short films typically cost one to three thousand dollars, even if volunteers are used.

The other low cost option for a screenwriter is to hire an experienced filmmaker, who is used to making low budget movies, to do most of the work. Such a person may have spent many years working with very small budgets, and knows how to utilize volunteers or low paid help to make a movie. For a writer whose main interest is in getting their movie made, rather than learning a lot of skills that may not interest them, this can be the better option. An experienced low budget filmmaker can likely save you thousands of dollars, and ensure that your movie is saleable.

About this Author: I am an expert at making low budget movies. I have movie making packages starting at $14,000. You can be the director, or I can direct it for you. You may be able to find two actors who are keen to get the lead roles in a movie, rather than bit parts, who will want to share the cost. I can make your movie where I live, or come to you. If made where I live, your movie can be made to look like it was made somewhere else. This is done all the time, and it is explained on my website:http://www.bushpilotproductions.com/makeamovie.html.
To make your movie at a very low cost, there are script considerations which are also explained on the website. You can keep trying whatever you have been trying, and eventually give up, and then mumble the name of your movie when you are dying. Or, you can get proactive, and make your movie.

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The War and Peace of Indie Film Production

Indie Film Production

I’ve learned through making movies the war and peace of indie film production can be either creative hell or creative heaven. It is cliché, but it is really all in a person’s outlook on indie film production which it will be. Being unrealistic about what type of indie film you can make with a limited movie budget sets an aspiring filmmaker up for creative hell.

I casually know one high strung filmmaker I run into once in a blue moon at a certain bar. The story never changes. They are producing this indie film that is going to be a sweeping epic with a small army of a production crew and short list of rising talented actors for the lead role. I believe in going after your filmmaking dreams, but you also to be realistic.

The reality of their situation is they have a $50,000 budget, a 120 page script, the story is set in the 1940s during WWII and there is lots of on camera gun play. I ran into them a couple of weeks ago and they were in a shitty depressed mood.

They felt like a movie making failure because they couldn’t make their indie film production happen. I tried my best to give them some positive words and tried to lift their spirits one indie filmmaker to another, but they were really in the dumps. What I was saying must have sounded like, “blah blah blah.”

It wasn’t my place to tell them trying to produce a 1940s period set in Italy during WWII on a $50,000 budget had indie film production let down written all over it. They were in creative hell torturing themselves for not being able to make their movie.

There was no point adding more negative gasoline to burning fire by telling them they way over shot their film budget creatively and the film really had no chance of being made.

Having too lofty goals for a film production you’re movie budget can’t handle is a bad spot for any filmmaker to be in. Misery loves company. In a last ditch effort to show compassion to a fellow filmmaker I told them about my worst indie film production mistakes and let downs.

The terrible time in my own filmmaking life when I totally let stress and worry dominate me during post-production of my first feature film. I had created a creative hell for myself.

Knowing that other people have fallen short of their creative mark did make them feel a little bit better. After talking they told me they were going to make a smaller film with a tighter script shot in the present day. I hope it works out for them.

I personally believe that many of us indie filmmakers sometimes create our own creative hells without knowing it. Making movies is stressful, personality conflicts on sets happen and technical problems are always lurking.

We don’t need to let the negative things consume us so much that we fly off the handle over small film production problems, become rude jerks to other people on set or become paralyzed with self-doubt and fear. When you’re in creative hell during indie film production the movie will suffer at all levels.

When stress, anger, egos and unrealistic expectations of things being perfect are left to run unchecked many filmmakers lose control of their creative sharpness. Being stressed out, being an unreasonable pile or being unable to adapt to solve production problems have never helped a movie get done.

Sometimes during rough spots during indie film production it’s better to take a few minutes to pause and collect yourself before reacting to the situation. There’s a lot to be said for the benefits of taking deep breaths and not letting anger or fear dictate your filmmaking decisions.

Being a miserable rude bastard on set playing ruler of the set can work in the Hollywood studio system because people are being lots more than anyone on an indie film production is to take shit, there are people that even work for free on indie films.

People look the other way when A-List actors, directors and producers piss on their below-the-line people because the jobs pay good money and studios make billions from blockbuster hits. Egos and celebrity attitudes are not a good fit for smaller budget indie films.

The wonderful world of indie film production is still truly driven by a feeling of community amongst cast and crew. There is no celebrity politics to play like who has the biggest Hollywood honeywagon and most personal assistants on set.

Mentally beating yourself up during an indie film production does no good and puts you in creative hell where you’re not enjoying making a movie. Don’t get me wrong.

Making movies is tough business where problems happen and you have to fight through them to finish your film, being able to keep control of your own personal attitude will greatly help you overcome indie film production problems that are a constant when making a movie.

Being a pissed off movie maker throwing a temper tantrum never fixes a problem, it sometimes only makes it worse. No filmmaker is a Buddha that can be calm through everything. We all get pissed off sometimes on set, but the faster you let that anger pass you can get to figuring a workable solution. Calmer heads always prevail.

Relax and deeply breathe as much as you can when you feel anger, fear or stress that is clouding your creative judgment. Even 5 minutes of relaxing guided meditation can help you see the big picture and help you make indie film production calls that save the shooting day or fix a post-production problem. Pissed off never helps any situation get smoothed out.

Creative hell is when you’re not enjoying making your movie and you feel like your failing, losing control of the project or are in an angry nasty surly mood all the time. Avoid being that filmmaker. Negativity is bile that will build up inside you doing damage to those around and to yourself.

Creative heaven is when you’re able to go with the flow during every stage of production. It doesn’t mean you’re a push over that doesn’t call shots, keep cast and crew on task and move the project forward.

When you’re in charge during indie film production try your best to be open minded and flexible when script rewrites have to be done, filming of shots changed and technical problems happen.

There is no such thing as a perfect indie film production. There will always be problems to deal with on and off set. When you’re in a good state of mind not clouded by anger, fear or reckless ego you’ll be amazed how much easier it is to find solutions to production problems that sometimes even make the movie better at the end.

The wonderful world of indie film production is a creative rush that is exciting because the freedom you have to share your story with movie viewers without studio producers hanging over your shoulder second-guessing every call you make.

Sure, most indie filmmakers, me included, would hope to break into the Hollywood studio system and make big budget movies. That’s the filmmaking dream, but for now indie cinema is a creative playground where you can take risks and push the envelope by making movies that show hard-hitting uncensored content studios aren’t known for showing.

Embrace the wonderful world of indie film production with a positive and realistic view of what you can accomplish as indie filmmaker working with a limited budget to get your movie done. Filmmaking heaven is when you’re enjoying what you’re doing and even when problems arise you don’t lose control of yourself and let anger, fear and stress dominate you.

About this Author: Get the inside scoop on writing, producing, directing, and movie distribution at Slice Of Americana Films. Check out the life and times of filmmaker Sid Kali.

Article Source: http://EzineArticles.com/6838729

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