So you want to make a film?

[Miss NWA Whoorider]

Making a film vs. going to film school. Conservative estimates are that film school is expensive! Yeah, I'm talkin' thousands of dollars. Bank! Not only that, but for most of us that means movin' away. Moving away might not be so bad but what about what we have in our own back yard? Instead of plunkin' down that hard earned cash for a few years of film school, why not plunk it down on the items necessary to make a film yourself? Why? First of all, how do you really know that filmmaking is really for you? Dreaming about it is one thing. Doing it is quite another. Now, the last thing I want to do is discourage you. God knows there's enough books on the subject that discourage everyone from getting into the business in one way, shape, or form. Second, the experience alone is priceless. I don't care what your budget is, I have to believe that the experience of being involved in every step of making a film will give you a much needed perspective of everyone's role in the process itself. Third, it's my opinion that for those of us that are really dreaming and visualizing making films, that sometimes formal education can subconsciously implant limits on what we can and cannot accomplish. Now I'm not knocking a film school education. Nor have I any scientific analysis or statistics. I have however, come in contact with more than a few people that have a film school education, and so far I could not classify any of them as a "Filmsmith." The establishment wants to harness that creativity. And for good reason. Control. But just remember the one and only rule of being a filmsmith. There are no rules.

[Miss NWA Whoorider]

How do I start? Good question. Being a filmsmith means using all your resources. Time to make a list. Friends, family members, vehicles, money, credit, etc. Make a list. Do your friends and family members have friends and family members? Ask! Now is no time for shyness. Make a list. Be sure to include scene locations in your list. Who's house or apartment can you use? Who's car or truck? Boat or airplane? You'd be surprised at what resources you might really have after you made a list. Once you've listed everyone you know, start asking them what resources they have at their disposal. Remember, if you're excited, your friends and family will be excited. You don't ask, you don't get. Make a list...

[Miss NWA Whoorider]

Your idea. You've gotta have an idea. The script comes later. Keep your list in mind as you visualize your idea. Your idea is important. Can it be done? Can you accomplish the major parts of your idea with the resources you have? This is your movie now. Can you do it? Do you have inside you what it's going to take to get it done? Is your idea do-able? That is, if there are explosions in your movie, can you make 'em happen? If not, is there a way to accomplish the same effect without the FX? Time to be creative. Creative movies are better anyway. If you can do a scene with dialogue or lesser action, why use FX? Put 'em only if they are important to your film, drive the story forward, and are do-able. Don't have an idea yet? Get one. Look around you. Ideas are EVERYWHERE! Newspapers, magazines, stories your Grandpa told you, movies you've already seen, everywhere! What kinda movie do you wanna make? A Heist film? Comedy? Romance? Mystery? Thriller? Still too hard? Remember, there are NO new ideas. Just new characters, new dialogue, new twists, plots, etc. Get your idea. Make sure you can pull it off. Change it around until it's do-able.

[Miss NWA Whoorider]

The script. This is my favorite subject. After the idea, comes the script. Now don't start freakin' out just yet. Are you worried about format? Are you worried about what it will look like? Don't. Who's movie is this anyway? Unless you're gonna try and peddle your script to Hollywood, don't worry about the package. Worry about what's inside the package. Just write the damned thing! If you are worried about proper format, then feel free to learn. I could give you the basics right here and now, but why? Get it down on paper first. Some us start with an outline. Others get to know their characters. What's the right way? There isn't one. That's what's so cool about making your own feature. Now I confess. Sometimes I'm a perfectionist to the extreme. I learned proper formatting, packaging, etc., when I wrote my feature, "THE DISK." I figured I could definitely benefit from the rigors of proper script formatting. Why? Well, I also figured that if, for some reason, I never finished my feature, maybe I could eventually sell the script. It certainly isn't a requirement at this stage however. By the way, I still like my first script, but I would never attempt to sell it to Hollywood in it's present state. Don't get me wrong. It looks good from a distance. It's the right length. It's properly formatted on white 8 1/2 by 11 inch paper. The cover is plain white business card stock. It's got two brass brads in the top and bottom punched holes. The package is nice. And, I basically like the premise of the story. But remember, I wrote it for me. My feature. My baby. It's got camera angles. Script notes that only I would understand, etc., i.e., it's a "shooting script." I wrote it with "my list" in mind. Remember the list? If I rewrote it for Hollywood, I'd have to make it a higher concept screenplay. Better locations, more action, etc. Eventually I'll install links to specific websites that I feel would assist you in your FILMSMITH quest. There are plenty of screenwriting books that can help you get started. I know, because I've already bought every one of them! For me, writing is my particular passion. My plan for "breaking into Hollywood" is a two tier plan. Whichever one gets me there first is okay with me. Right now, too many things are keeping me from shooting my first (again) feature. But (and we'll explore this in more detail later), that doesn't keep me from accumulating equipment or writing. For instance, I recently finished a screenplay that I'm trying to sell. I'm also writing another that I want to shoot myself. I'm working on yet another to try and sell again. Don't have the time for all that? Bullshit. Let me tell you about "my" average day. I get up at 5:30 to 6:30 a.m. I get ready for work. Yes, I work full time. Actually way more than full time. Anyway, at about 6:45 I drive 87 miles one way to my job. Remember the divorce from hell? I won't get into specifics, but I live 87 miles away because I have to. So, I get to work at 8:30. I hardly ever take a lunch break and keep working till at least 7:00 p.m. Half the time, it's closer to 8:30/9:00 p.m. Then I drive home. The drive home takes more time because I take a different route to pick up my wife (yes, I'm remarried). I usually don't get home until around 10:30 to 12:00 p.m. Since I eat on the way, I don't usually worry about food when I get home. Within a half hour, I'm writin'! I shoot for a 3:00 a.m. stop time, but sometimes I go over, sometimes I fall asleep while I'm writing. I love it! I used to goal myself with a certain number of pages, but I NEVER reached it. Now I go for time. For my current situation, it works for me. Enough about me. All I'm saying is that if

[Miss NWA Whoorider]

     


 
 
 

Get the idea? How many steps? Authors of the screenplays books differ, but a good ballpark figure is between 30 and 40 steps. Even up to 45 if needed. But remember, you're making this flick, not Warner Brothers. A small, no budget Filmsmith movie should probably be between 70 and 90 minutes long. Why? Unless you're Steven Spielberg et al, your potential audience may not stand for much more. But maybe you are. Where are we? You've got your idea. You've got your character's biographies. You really know them, right? You've asked and answered the 5 questions outlined above. Your main character's goal(s) and obstacles are clearly established. You've got your step outline. Time to write that script. Use a pen/pencil and paper, typewriter, word processor, script-writing software, whatever. WRITE! Get it all down baby. Every word. Every little idea. Every scrap of dialogue you've always wanted. Every dream scene. Get it all down! Will you use it? Nope. But get it all down anyway. When the first draft is finally completed, it's time to cut. Throw it away forever? Hell no. Another note: Keep all your screenwriting together. Notes, 3 x 5 cards, computer printouts, etc. Keep it together. Why? Because the stuff you'll have to throw away from your first feature might be useable in your second feature. My latest screenplay's first draft was 195 pages! Way too long. It was really hard for me to cut. I cut scenes that I KNOW would be memorable. But, no matter how good it is, if it doesn't propel the story forward even one little bit, get rid of it. Use it for your next movie. Dialogue. Say it out loud. Act it out. If you can't do that, ask someone else to. Now's your chance to talk to that guy or girl you've been wanting to talk to. Ask them. Ask your husband. Your wife. Get it? Can't tell right away? Record it. Play it back. If the dialogue sounds like crap, come up with something else. Don't try to write "dialect." Better to position the words in the order you want them said. Then let your actors act. Action. Don't be too wordy. You're not writing a novel. If a hotel room is shitty, describe it that way. Example: INT. HOTEL ROOM - NIGHT Shitty. Try to be "active" instead of "passive." Example: JOHNNY waits for the police. Not JOHNNY is waiting for the police. Why all the fuss? Remember, every page of your screenplay should equal approximately one minute of actual film. Being too wordy will throw you off. So... write the script. If you think you can do it without, be my guest. But your script is your blueprint. To me, this is your most valuable asset in making your Filmsmith feature. A good script can get people interested in helping you out. A good script can get a good performance from your actors. If your actors can act, so much the better. But what if they can't? Dude, write the script. As I said, this site will be under constant construction. So, if you're a "stickler" for perfection, there will be links to other websites and/or pages herein to teach you proper script formatting and writing. Because I feel that the script is THE MOST IMPORTANT part of your Filmsmith quest for a feature film, I will update these pages frequently. My opinion is this: You want to break into the movies. You want to make films. You want to direct. The two-tier plan. 1. Write script(s). 2. Make a movie. Of course there are other ways. Move to Los Angles, go to film school. Move to Los Angeles, get a job on a set and start out at the bottom. Know somebody. The list goes on. But if you're like me, and finances are tight enough without worrying about film school costs, and moving to Los Angeles is not even realistic for you, think about the two-tier plan. Write your feature so that you could upgrade locations, props, etc., and try to sell the script to Hollywood. Write your feature with the locations, props, etc., that you know you can get locally and make your film. A finished film, "in the can" could be the key to the Hollywood lock. Recent examples are Robert Rodriguez (El Mariachi), Ed Burns (The Brothers McMullen), Kevin Smith (Clerks). Others pop up all the time. Go see "Swingers." The bottom line is that no matter who you know or what film school you graduated from, a good script or a good completed movie WILL get you in. You want in don't you?

[Miss NWA Whoorider]

     


 
 
 

There are all sorts of Film formats. But which one for YOUR feature? How do you make this decision? What criteria do you base it on? That can be a hard question to answer. There's probably 2 sets of criteria to base your decision on. 1. Money 2. Market(s) Money - How much do you have on you? You got credit cards? Can you mortgage your house? Can you get your parents to mortgage their house? Do you collect aluminum cans? Do you have a regular job? These are all the key questions you need to ask yourself. What good is it going to do you to announce that you will shoot your feature in 35mm with a Panavision camera if you can't afford it? No good. Be realistic! Why do you think Ed Burns shot "The Brothers McMullen" in 16mm? How about Robert Rodriguez and "El Mariachi" or Kevin Smith and "Clerks?" Money. More questions you'll need to answer for yourself. Do I buy or rent the camera? If you choose 16mm and possibly even Super-16mm, you could definitely buy the camera(s) if you shop around. In fact, I will list resources elsewhere. The same goes for the Super-8mm format. Remember, we're talking FILM here. Not video. If you want to shoot your feature in a video format, visit a site that deals with video. This is not to say that video is useless or shitty. On the contrary, video is here to stay. Whereas you could definitely afford to shoot and edit in video (who can't these days), what would your market be? Very few festivals (with any clout) will entertain your feature if it's shot in video. Distributors? Forget it unless you're shooting a porno. -------------------------------------------------------------------------------- Now I'm sure there will be some purists that are going to disagree with me, but remember, we're talking LOW-BUDGET, MICRO BUDGET, NO BUDGET features here. For this reason, at least for the time being, we'll concern ourselves with the above 3 formats. Super-16mm 16mm Super-8mm Which one? Which one? Which one? Hell, I don't know? More questions. Markets. What will your market(s) be? A showcase sample? Or, in other words, a movie to show to prospective agents? Going direct to video? Film festival circuit? Theatres? You need to figure this out BEFORE you decide on a format. Want to do all the above but low on money? Time to compromise, dude. Let's take Super-16mm and 16mm first. Both excellent formats to work in. Super-16mm equipment (and some services) can be harder to find, and are usually a little more expensive than 16mm. Conversely, 16mm equipment and services abound. Both are highly respected formats in the industry. Both formats can be easily blown up to 35mm for theatrical release and both formats can be transferred to video and look as good as 35mm. Some of you may argue this point. Too bad. Festivals (respectable ones) are also equipped to handle both formats. Super-8mm. What can I say? Yes, if you haven't figured it out by now, this is my favorite format. Why? CHEAP! CHEAP! CHEAP! Don't misunderstand me though. I'd go with one of the two formats above in a heartbeat before I'd go with Super-8mm. Why? Because of all the niches Super-16mm and 16mm fill. But Super-8mm is CHEAP! CHEAP! CHEAP! Because of its cheapness, it can and usually is a very forgiving medium. What are the drawbacks? First and foremost is the fact that KODAK stopped making Super-8mm sound film. Those fuckers. Second is the fact that (as far as I know) blow-ups are more grainy than Super-16mm and 16mm blow-ups. *NOTE: I've had long conversations with several labs that handle these blow-ups and some tell me that they would put their Super-8mm blow-ups up against Super-16mm and 16mm blow-ups. So, on this note, it could be a stalemate, depending upon the quality of the lab you use. Festivals. The important ones don't handle Super-8mm. Bummer. That means that you'd need at least a 16mm blow-up if you want to enter your feature in one of the better festivals. Video transfer. Depending on the quality of your camera, exposed film, and processing, a videotape transfer of Super-8mm film rivals that of Super-16mm and 16mm. This is where the purists come out again and want to argue. I've got several VHS cassette movies that originated on Super-8mm and they are not grainy. In fact, the picture is excellent. One good reason to consider Super-8mm (besides being CHEAP!) is to showcase your talent. Preparation is the key here. A really well prepared and well shot Super-8mm film transferred and edited on video, then put on a VHS cassette could be the key to the Hollywood door. Trust me in this: If your feature is good, great, outstanding, 3 or 4 stars, etc., your film will open the doors. And remember this; just because one might shoot in Super-8mm doesn't mean that one must tell everyone who sees his/her showcase tape that they're watching a Super-8mm film. In fact, if your feature film is that good, chances are that everyone you show it to will assume that you shot it in 16mm anyway. Go ahead and let 'em! What happens if they like your movie so much that they want to blow it up for theatrical release? Then you got some splainin' to do. One word of advice here. If you originally shoot in Super-8, and then decide to get it blow up to 16mm or 35mm for the festival circuit, you should have shot it in one of those formats to begin with. BLOW-UPS ARE 'SPENSIVE! -------------------------------------------------------------------------------- So, which format? I'm not tellin'. Seriously, figure out your budget. Figure out your ultimate market(s). These criteria will probably make your mind up for you. Back to the beginning. Links to assist you in your "F I L M S M I T H" quest...

[Miss NWA Whoorider]

Starting Out..
So now you've decided on a format. You're writing your script. You're asking your family, friends, and neighbors (and their family, friends, and neighbors) about their resources. Now what? Time to start doing your research. If you've decided on 16mm or Super 16mm, it would be wise to start shopping early for lab services. You'd be surprised what a visit or phone call can do for you. Be honest. Let people know that you're going to attempt to do a feature film with little or no money. Why?
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Generally speaking (at least it's been my experience), people like people that are honest. Don't you? Being honest is a great way to get information. A great way to get deals! All kinds of equipment is simply laying around for you to pick up! That's why you call every lab, production facility, film and filmmaking supply house, etc. Start with the phone book. Pick up copies of "American Cinematograher," "Moviemaker," "Independent Filmmaker." Resources abound!
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Make a list of the above and start calling. If you can't call, write. Better yet visit. Tell people as much as you can about you feature. Let them know that you're resources are linited and that you'd appreciate any help at all they can throw your way. Let them know that you're looking for filmmaking equipment. Ask if they know of anyone that has anything laying around.

[bez]

not 1 person on this forum will read that u meat!

[Nino_Brown]

hahaha

[Trauma-san]

Yall have to admit, you'll never again meet someone as determined as this girl, LOL.  She will never, ever give up, just won't happen, she's got more stamina than anyone i've ever seen.

[Doggystylin]

i just wanna know why shes writing all this when no one asked for the info, i mean, i wouldnt waste my time, but hey, if she wats to do it..... go ahead

[Flurry]

damn u wasted 30 seconds of my time scrolling down that page