One thing she immediately advised was to think in festival tiers: upper international , middle national , and regional lower.
15 Tips On Making Your First Micro-Budget Feature | IndieWire
You want to make sure you have the money to apply to all three. If you put all of your money into the upper tier festivals, you risk getting into nothing. Middle and lower tier festivals can you help you get reviews, befriend programmers who will push your work via their social media platforms, meet the press, and get tips from other filmmakers. Some festivals take care of this, but you never want to assume that.
Otherwise, you will end up unable to attend your own screening, which renders the festival experience meaningless. Teach at a film school.
Instead of moving to LA after I graduated, I decided to do something different: teach. Instead of moving my family to a high-priced city where we would struggle from paycheck to paycheck, I chose financial stability and security. Yes, many of my friends moved to LA. And no, none of them have made a feature film since graduating. Is this because they lack talent, resourcefulness, or strategic thinking? Absolutely not!
Instead, their headspace is packed with the daily demand of financially surviving LA. Teaching frees me up mentally to focus on bettering my craft.
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Moreover, the very act of teaching sharpens my filmmaking skills. In addition, you have to remain fresh, relevant, and in-the-moment, all of which are good traits to acquire as a director.
- Producer to Producer: A Step-by-Step Guide to Low-Budget Independent Film Producing 2nd Edition.
- What Can I Say... (Depression Book 4).
- How to pitch your film a step by step breakdown?
- Film Production Books You Need to Read – Top Ten List!
To be honest, I really enjoy working with student interns. They also want to prove themselves. One last thing: schools want to see you succeed since it represents them university positively, which likely means you will be able to use their gear.
Film Production Books You Need to Read – Top Ten List
When making your first feature film, you have a lot at stake — and so does everyone else. Your producers, actors, and crew have taken time out of their summer to work for you for free. What is it they are seeking out of this experience? Plus, a servant leader will engender fierce loyalty. If you operate from this perspective, you will find that people will buy in and join you in this process. We all want to be a part of something bigger than ourselves. We want to transcend the temporary and be part of something collective, something larger.
And you can provide this for your cast and crew if you lead with vision and self-sacrifice.
Embrace your limitations. His thesis is that creativity can only exist when limitations abound. While on stage, he implements this methodology by using crappy guitars and placing instruments on opposite sides of the stage. All of this is done because it forces him to work hard for the outcome.
They abound. But what White reminds us is these limitations must be viewed as opportunities to test your creativity and respond to the problem. These limitations will not only be financial, but also creative such as the need to shoot almost exclusively at one location to stay under budget. As long as your script is less than pages which it most certainly should be , this will allow you to retain a page per day shooting range.
The pace forces you to be creative without sucking the soul from your film and demanding compromise from the very first shot. And that takes time for camera, blocking, acting and lighting. One other piece of advice, have your 1st AD build your shooting schedule around your shot list. This is essential to smart planning. Some scenes simply require more shots than others and building a schedule around your shot list will allow you to be sensitive to this fact.
Get to set early and wake up even earlier. Something we realized after day three is that making a feature requires a radically different methodology than making a short. Practically speaking, it required two additional hours of preparation a day. Write a product review. Most helpful customer reviews on Amazon.
Verified Purchase. First, the book covers the fundamentals of film production in a very easy to read and understand way. Its surprisingly easy to understand despite any readers lack of knowledge of business or management. Secondly, and one of the parts I particularly like, is that Suzanne has included a chapter chapter. This chapter alone is invaluable in helping readers understand how film production works or should work. At the end of the book, she's also included almost pages of resources for indie film producers.
Both books are highly recommended. One person found this helpful. Lyon's book is the real thing. I heard Suzanne Lyons interviewed, so I bought her book. She is the real thing. She's been in the front lines, financing and producing Hollywood movies. She specializes, it seems, in the low to medium indie budget film. Let's face facts: it's more difficult than ever to sell your indie film.
In this day and age, if you have a cell phone, you're a filmmaker. That means your competition is through the roof. It's a jungle out there: a really, really crowded jungle.
Equipment for Low Budget Filmmaking
So raising money to make the next Star Wars or Godfather is increasingly difficult. So many people are clamoring for a finite amount of money, it makes it difficult to differentiate yourself from the rest of the crowd. What to do? Read this book! Lyons discusses how to price your financing package, how to market your film, and more importantly, yourself, who to approach, how to structure your deal and more. It's critically to be able to pass your passion along so others get excited as well; that means you have to have your pitch down COLD.
One thing she emphasizes is getting a name. This means a recognizable actor, director, writer or someone that you can use to raise money. I mean if George Clooney is going to be in your film even as a secondary character you are going to get people excited If you have Joe Blow, it's going to be very difficult. You might have to go the dreaded crowdfunding route. As she and others point out, this is the grunt work of making films. It's a hella of a lot more fun getting a great performance on set, working with all of those talented people, making split-second decisions, and so on, than it is trying to sell your vision to a bunch of skeptical people.
I know, I've done it. Details for registering can be found at the Media Center site. If so, what are the things filmmakers and producers need to be aware of to make it one?