What They Don't Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What

What They Don't Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What

Camille Landau

Language: English

Pages: 256

ISBN: 0786884770

Format: PDF / Kindle (mobi) / ePub


Two filmmakers who've beaten the system give the real dope on what it takes to get your movie made.

Do you have to go to film school to get your movies made? No, say two young entrepreneurs who survived the grind. Here they offer 140 strategies for making movies no matter what. Amateurs as well as seasoned veterans can pick up this entertaining and incredibly useful guide in any place--at any point of crisis--and find tactics that work. Whether it's raising money or cutting your budget; dealing with angry landlords or angry cops; or jump-starting the production or stalling it while you finish the script, these strategies are delivered with funny, illustrative anecdotes from the authors' experiences and from veteran filmmakers eager to share their stories. Irreverent, invaluable, and a lot cheaper than a year's tuition, this friendly guide is the smartest investment any future filmmaker could make.

Strategies from the book include: Love your friends for criticizing your work--especially at the script stage; Shyness won't get you the donuts; Duct tape miracles; Don't fall in love with cast or crew (but if you do...).

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will you say when they call the next day with just one question: "So, do you have a script?" If your answer is no, it will all have been for nothing. Really. Don't believe us, and you're setting yourself up for the same trap that generations of haggard film school graduates want to warn you about. "Jack" (not his real name) worked very hard as a director in his first year at film school making warm-hearted films with strong narrative appeal. He worked very hard his second year, too, directing a

Shakespeare performed all his plays at the very same location, the Globe Theatre, without any change of scenery. Write the key scenes for your actors, and relax about the locations. Remember that spectacle can be as small as an actor lifting his pinky. On a fifty-foot screen, that's a big pinky. More may be more, but less in film is usually a lot more than you're used to. Necessity can mother the invention of greater precision in writ- 56 What They Don't Teach You at Film School ing your

allow you, on one day only, to buy products at cost. Offer to credit them the full value of their contribution, along with the citation of a not-for-profit institution's tax ID number, in the thank-you letter. If you don't know what food you'll need, take advantage of this negotiated "at cost" day to buy bottled drinks, paper plates, plastic cutlery, tinfoil, etc. • Shop at restaurant-supply stores and other wholesale markets. Certain wholesale markets are open to the public, What They Don't

and a success. Camille ran a minitriathlon. Ran isn't quite the word for it. Far and away the last person in the pack, on the last lap, she strained to push her bike up the hill and walk it down. Just as she was lamenting her miserable last-ness, a group of four women in a golf cart putted up the hill. "Are you in a race?" one of them asked. "Something like that," she answered. "Are you first?" one asked, noticing that there was nobody else in sight. "Not first. Last," Camille answered. But it

still want her/his willingness to do another take. 2. The kid is crying. Zoom in for a close-up. You can use these authentic tears in a scene where the kid's supposed to cry. 3. You've actually got the camera turned on someone who doesn't know they're in the scene and is doing a great j o b naturally. 4. The camera never went on. Don't tell the actors. You didn't waste any film, so just do "another" take. Just make sure you turn on the camera this time. Grace Under Pressure: Directing Under

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