Friday, April 24, 2015

The Visit Trailer Link

Check out a post at my other blog about the new M. Night Shyamalan film, The Visit.

Thursday, February 5, 2015

The Fun of Fundraising

The Fun of Fundraising

I have not posted in a while because I am at the beginning stages of raising money for a feature film. There are any number of ways to approach this and I have tried to clear some of the big hurdles by writing the screenplay myself and to pull together the basic equipment that I will need for a micro budget shoot.

Each of us view a micro budget shoot differently. In terms of how much money we expect to spend. How big the production crew needs to be. How big a cast we are going to need. The pre and post production needs such as how soon do I involve an editor and a composer if I am not planning on doing either of these jobs myself. How many days do I plan to shoot? Do I aim for a feature shoot nonstop in under two weeks or do I shoot on weekends for how ever long it takes (this worked for Christopher Nolan when he shot his first feature).

Money will dictate a number of the choices that you make. So figuring out an honest budget and then going out and raising the money needed is going to be have to be job one. There of course is an exception to this rule. If you are an actor or you live with a great actor or actress then you can go zero budget in your own home or a location that you can get for free. Film makers have done this before. The video that I would like to share with you today is over 90 minutes long and it features a ton of interviews with film makers about how they approach raising money for their projects.

Thank you for visiting my blog. Good luck with your fundraising whether you do it all yourself, find an investor or go with crowdfunding. Please take a moment to add me to your Google plus and to share this post with a friend.

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Friday, January 9, 2015

Crowdfunding With A Movie Star

Crowdfunding With A Movie Star

 Crowd funding is one of the ways that many film makers find the money to complete a project and or to fully fund a project. To go into it as an unknown film maker of a first film and a cast of beginners in a mountain most of us will have to climb. Today I would like to begin with a film maker who I was say has a big leg up on most of us. I would look at it as hitting the lottery. The lead actress in his film is Keisha Castle Hughes. Academy award nominated (she should have won) for her first film Whale Rider. Location plays a part in getting talent for your project. In the case of her career so far I would argue that location has been the only thing that has held Keisha Castle Hughes from being top of the A list actresses. Okay let me get back to the campaign we are going to look at. The title of the film is Find Your Voice and there is about a week left in this campaign. I suggest you check it out.

 Next up is a sci-fi feature film. I am one of those people who believe that sci-fi should be more about characters and situation rather than special effects. This campaign looks interesting and is near both is funding goal and its end date. I hope that you will check it out. The title of the film is The Toll.

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 I have been told by readers of this blog that I avoid animation like most guys avoid Twilight films and that is not true. Yes, I hate Twilight, but no I do not dislike animated films. It is just hard to find animators to interview. I may try to get an interview with the film maker behind the next project we are going to look at. The title of the film is Yellow Brick Road and it is about what you think that it is.

 Next up is the campaign for Deadly Waters.

 Thank you for visiting today. Good luck with your film making projects. Please take a moment to like this post on Stumbleupon and to share it on your facebook page. Also you could add me to your google plus.

Tuesday, December 23, 2014

The Footage Film and The Year To Come

                    The Footage Film and The Year To Come

    This is going to be a quick post. First I would like to thank everyone who have made this digital film making  site a regular part of their lives. I would like to invite you guys to add me to your google plus. At Google plus you will get updates on everything I post here, plus at my other blogs.

    The first thing that I would like to share is a film that I really like. I wish that I had an interview to go with it. This would have been part of the found footage series. It is what I like to call a Footage film. The footage is delivered by the person who shot it rather than haven been found later. the title is Out of Court.

    Next I would like to tell you about the coming year. We are going to look at some new cameras and free editing software in the months to come. I am finishing up the first page of showreels for actors and actresses, I will be posting it soon. I believe that the theme for the year 2015 will be fan films and sci-fi. If you guys have seen a really good fan film let me know and I will see if I can get an interview with the film maker.

Okay that will be it for today. I will be leaving you with a great little iphone film from India that I came across a few weeks ago and a request that you guys check out my new book that I just published. It is a collection of my three books on digital film making and screen writing.

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Friday, November 28, 2014

Gotham City Sirens Posting and Notes

                Gotham City Sirens Posting and Notes

After months of waiting the fan film Gotham City Sirens has been finished and posted.
After doing the interview about the making of it I have been looking forward to seeing the film.
The one thing that I wish for after seeing it is that I wish that it had been a feature film. Great cast and there is room for so much more to be told.  The film is posted below. If you like it please take a moment to share it on your facebook.

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    I have not posted in a while because I have been working on finishing three separate ebooks. The first one, On How to Make A Found Footage film is available in paperback on Amazon and in ebook format everywhere else.  You can find a link on the side of this page, just click the picture. After spending over a year in the found footage universe I learned a great deal about the genre and the film makers who have taken to it. The future of this genre looks a little brighter than I thought it would. My next post on it will be a feature film and the last of the found footage topic unless something amazing comes my way.

    The upcoming year will be about fan film making and sci-fi on a micro budget. Also news about my first feature length film as the man wearing all three production hats.  When I dreamed about becoming a film maker I thought that I would be like Roger Corman or Taskashi Miike churning out half a dozen plus films in a year. Instead I am more David Lean or (don’t Boo)
my fellow Philadelphian M. Night.

    Last note for today, could I get some acting reels for my reels page. I am going to post this page in a few weeks and I have reels that have been referred to me, but none by actual actors themselves. Do not be shy. Any exposure is good exposure. Film makers are always looking for talent that is willing to work on micro budget productions.

Thank you for visiting and please take a moment to add me to your google plus.


Saturday, November 1, 2014

Sophie’s Fortune, Action Adventure On a Micro Budget

It is sort of an adventure to write about and get to know indie film makers. I would equate it to the classic version of Doctor Who where the Doctor, (Tom Baker people) would pull a lever and would not have a clue where he landed his ship until he stepped outside. I get sent links to check out all the time. Sometimes it is to a trailer and other times it is a short film or even a feature. About a month ago someone was good enough to send me a link to Sophie’s Fortune. They said it was the best micro budget action adventure short film that they had ever seen. After watching the film that makes at least two of us.
What I would like you guys to do now is to watch the complete short below. Share it and then read my interview with the film maker Chris Cronin about the making of the film.

Q) When people think low budget short film most envision a story set inside a house with two to four actors involved. They do not imagine an eighties style action adventure.  What is Sophie’s Fortune about and what made you think that it could be done on a micro budget?

A) Brendan gets involved in a 'Fathers only' treasure hunt for the sake of his 7 year old niece Sophie and the parents imagination get the better of them as they go on an epic adventure. Sophie's Fortune is about fathers pride and the fact they are still big kids with imagination. It’s a kids film for grown ups in a weird way.

The main aim of Sophie's Fortune was to not play to the restrictions of the short film format and the expectations that come with short films. We didn't really know at first if we could pull it off and that was half the fun of it but I was confident. I've been told a few times that you get to make the films you want to make when you get the big budgets, you definitely need a budget to make films like 'Jaws' and 'Raiders of the Lost Ark' but we thought what the hell let’s see what we can accomplish on our own. With short films you always have to worry about budget restraints, time restraints, festival requirements and even though I can appreciate that it' good to work to restrictions, with this one we just threw caution to the wind and made something we'd like to watch.

Q) I am from the home of the mega budget block buster while with the exception of the James Bond movies, (most of which are actually filmed around the world) the UK does not produce these types of films?  Is this just a trend or are these kind of movies not well received there?

A) If I look at it realistically I think it’s because adventure movies require a certain amount of distance to travel for it to be an adventure whereas the UK is a lot smaller so it’s easier and cheaper to travel coast to coast in just a short car ride. Plus there are certain restrictions on the use of weapons in public and the gun laws are much different. I think we’d love to make these kinds of movies but there definitely doesn’t seem to be a big need for them right now. The idea of making a summer blockbuster style UK action/adventure appealed to us, in part, because we realised no one was doing anything like it (fan films aside) and also because it would be something we'd personally really like to watch.

Not many short films have attempted the adventure genre, especially here in the UK, but we didn’t believe that where we came from, or what budget we had, should define how we use our imagination in film. Why can’t someone from England go on a glorious adventure with mysterious treasure and dangerous puzzles?

Q) I guess I should get to the technique film making questions.  First one that has to be asked is what did you shoot with? Also would you have selected a different camera if you had it all to do over again?

A) This was made over 2 years ago so we used a Canon 7D with no prime lenses at the start and decided to see it through. It was an outdoor shoot so we didn’t require lighting other than hand-held LED’s and reflectors for the actors faces. The glide track was the greatest weapon for creating that cinematic movement and it saved a lot of time laying down tracks. I think we’d all have liked to shoot this film on something a bit bigger like an Alexa or a RED but post-production would have been an absolute nightmare with all the visual effects on 4K. The 7D was pretty good for the run and gun shooting style that we utilised when bad weather was creeping in on us. I'd love to shoot a more refined story with a Red Epic now that I've had the chance to play with one. That would be a lot of fun.

Q) What was budget on this film and how long did it take to shoot?

A) The budget was £2,000 and that was used to feed the cast and crew and cover expenses. Some of the guys chipped in and everybody involved was really supportive with helping to cut financial corners where we could in the aim to make a great film. It was a massive collaboration and couldn’t have been achieved without the support of everyone. The fountain head in the film was a huge prop build and should have cost a fortune but Joshua Michaelson believed in the project and wanted to be involved so that was his contribution. Same with the amazing post-production visual effects team. Everybody wanted to make an Indiana Jones film so they jumped in. The first block of filming took two weeks but we had to stop due to the Autumn weather so we picked it up again in Spring for another 2 weeks. It really felt like a feature production but with a short film crew. Some of the action set pieces took all day, like the running along the wall scene and it’s very difficult to get the entire cast in one location when they are not being paid up into the hills for 10 hours. From pre-production to post-production it took us about 2 years to complete the film, that was mainly because we were making the film as we were going along and it kept expanding.

Q) You pulled together a great cast. Where did you find your actors?

A) This was a bit of a self-indulgent endeavour so I pulled in all of the actors that I had worked with or wanted to work with in the past. Some roles were written specifically for the actor such as Steve McTigue’s character the Great White Hunter. Whereas for others I had to find actors to suit the role such as Adam Baroni and Donald Standen who have action films written in their DNA. I was really lucky to find those two specifically in the UK and as a bonus they have on-screen fight training which was a big win. Simon Hardwick, who plays the lead, has been a good friend of mine for a long time and he has gone on to do some big things in the West End but wanted to sink his teeth into something a bit different and with his training he was brilliant at choreographing the fight scenes with Adam. Simon’s dedication to the film is the reason we were able to finish the film. I joked that he was Bruce Campbell sometimes as I put him through hell like Sam Raimi did to Bruce on 'Evil Dead'.

Q) One of the draw backs of shooting an action adventure film is the size of the cast and crew required even on a low budget production. How did you deal with feeding everyone?

A) We just kept things as simple as possible, it was mostly sandwiches unfortunately, nothing fancy. And on the long days the cast would chip in themselves. This project was our film school and we realised the importance of feeding the cast and crew regularly to keep the energy and morale going and everybody happy. Everybody realised the mountain we were trying to climb and were happy to contribute where they could so we were pretty lucky in that area.

Q) The action part of action adventure gives many film makers nightmares because of the stunts that are required to make it look realistic. Every guy from the age of five to sixty five thinks that they can do it better than Jackie Chan, but reality usually comes crashing in after the first strained wrist. How much training went into getting the cast ready to do stunt work and did everyone do their own stunts?

A) Yes, they did, and there were a few bumps and grazes but not in the scenes you’d expect! It was just being a large group out in the countryside with rough surfaces etc that did it. We were very lucky to have a healthy cast with a level headed approach. I had to be pulled back sometimes but I managed to achieve the wall slam after a bit of reworking the wires. Simon is a dancer so he has a lot of strength and stamina and a great ability to remember choreography which made him incredible for action sequences. Adam has a professional wrestling background too so he knew how to fake a punch and be safe at the same time. He and Donald also had on-screen combat training as I mentioned which was a very useful thing to have, everyone else was able to follow their leads and with the use of a bit of camera trickery, we were able to pull off the fight scenes. I think. The rest of the cast focused on shooting the crap out of things and throwing out one liners.

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 Q) Clearly there are a lot of visual effects in this film. Who did the effects and what type of software was used?

A) Numerous people were involved in the visual effects, again it was no budget so only those who were interested in showing off their skills contributed and t was mostly done in Adobe After Effects. Even I edited quite a few of the scenes as did the Producer and the DOP. Daniel Buckle was the magic man who did the CG fountain in Maya/3D Max and that was because it was part of his final major project at university. We were very lucky that we had a good group of visual effects people wanting to flex their creative muscles. Some of them work on hollywood blockbusters, but given that they usually work as part of a massive team they may have only been responsible for smaller effects such as dust, whereas in SF they were responsible for all of the effects in a shot so they could fully own their work. We had to wait for Jupiter's Ascending to finish to get Sophie's Fortune done!

Q) Having grown up during the eighties I loved this film at first sight.  Clearly I see a little Raiders of the Lost Ark in this movie. What other movies were you influenced by?

A) Thanks Rodney, that's really cool of you to say. The list of inspiration is as long as my arm, some of them conscious and others subconsciously. I grew up on films like that too so I share the love. There are some old and some new. It was meant to be a grown up Goonies meets Indiana Jones but there are elements of Jumanji; The Mummy; Romancing in the Stone; Predator; Commando; and the more recent stuff being Uncharted and a list of anime, believe it or not. Everything I’ve ever made has influences from Cowboy Bebop, sometimes without me even realising it.

Q) I miss the days of films that featured good old fashion guy on guy violence with the clever one liner thrown in at the perfect moment. Forgetting the Expendables, do you think that we will ever return to movies like that minus robots and aliens and guys wearing capes?

A) Oh yeah, I think film trends are like swings and roundabouts, when we get fed up of the serious stuff there’ll be a need for these type of movies again and then after that we'll want the serious stuff. Dark Knight was so successful because it took comic books to a darker place and so there were copycats and the answer to that was Avengers and Guardians of the Galaxy who had fun with the material. The action adventure genre will be back when it's needed but the type of hero is likely to adapt just like what they did with Sherlock Holmes. The modern adaptation of Indiana Jones, in my opinion, is Nathan Drake (Uncharted) I’d be happier to see a trilogy from that than another Indiana Jones film. It was a perfect trilogy, goddamnitt.

Q) Was there ever a moment during film or watching it later where you thought that this could have been expanded to feature length?

A) I think instead of making a feature version of Sophie Fortune I’d rather make something with the same tone, the story for SF was never the main focus, it was just a MacGuffin that allowed us to go to the jungle in the UK. I think if it was a feature film the audiences would be annoyed that it was all in their imagination, we would have to adapt it to be more in the real world to pull it off effectively. I think it would have to be a different story set in the UK without guns, maybe a crazy old Grandad leaves heritage to a grandson who goes on an adventure to find it - something like that would be more fun and realistic for a feature adaptation. The producer of SF is definitely considering a feature adaption as he’s a big fan of the genre too. He's keep a close eye on Tomorrowland to see how they do it.

Q) I am asking this question as John Williams begins work on the score to the new Star Wars film. I wish more films had orchestral film scores, who did the music for the movie?

A) We were very fortunate to have Carlos Rubio on this film who shared the same passion for this style of score, which you don’t hear much anymore. There’s a great story about Robert Zemeckis on Back to the Future where he told the composer that the film is simply a kid with family issues who travels to the same place over and over. He said the score needs to sound like Marty McFly is saving the world and holy crap it's probably one of the best themes to a film ever. I spoke to Carlos in a similar way with SF as really I just made an action adventure film, Carlos made it into an epic. He did an amazing job and it shows because he's already nabbed two awards for it.

Q) Is there a feature film in the future?

A) Yes there is actually, it’s a supernatural horror that is in the final stages of development with a studio. If my producer can get an adventure film off the ground with a great story then we’d happily do that! But for the rest of this year I’m sticking with shorts - the latest being 2AM which is a creepy thriller set in a diner, again something more likely to come from America than the UK.

Q) Who are the film makers that influenced you?

A) The only real inspiration on SF in terms of directors is Steven Spielberg - this really is his playground. I'd really like to shoot an action film with John Mctiernan also in mind in the future. All other inspirations are from other genres really like Ridley Scott, Rian Johnson, Park Chan-Wook and David Fincher. Do the best you can, try to live it down.

Q) Any advice for the beginning film maker?

A) Don’t be afraid to make mistakes, experiment and enjoy doing it. You're not going to figure out what kind of filmmaker you are by playing it safe. Also, you won’t learn by somebody telling you what to do, you learn from your own experiences. As Mr Sunscreen said "Be careful whose advice you buy, but, be patient with those who supply it. …But trust me on the sunscreen."

Thanks again Chris for doing this interview. If you would like to visit his website click here. I would like to end by showing the trailer for his upcoming short film 2 A.M.

Wednesday, October 22, 2014

Part 2, Found Footage 3D Interview

To learn how to support the Indiegogo campaign for the film Found Footage 3D  please click here.

If you would like to follow this campaign on Facebook click here.

No preamble today, this is the second part of the interview with Steven DeGennaro.

Q) Clearly Scream was an influence on the making of this film. The reason I have gone down this road with found footage films is that just when I am ready to throw in the towel and move onto a subject like fan films a movie comes along and gives me hope that there could be something special here. Movies like End of Watch which is not a found footage film, but mimics elements of one and shows me a possible future path for the genre. There are films like The Frankenstein Theory that was fun to watch up until the young doctor Frankenstein decides that it would be a good idea to go and try to talk a ten foot tall homicidal monster out of murdering the rest of his friends. (Spoiler alert, talking softly to someone nicknamed the Monster usual ends badly.) Recently I saw a great film titled Out of Control from the UK. It was shot in the found footage format, but it was a domestic drama instead of a horror film. There is always something like Cannibal Holocaust or Rec 2 to show how good it can get when done well. What found footage films have influenced you?

A) There’s nothing quite like the granddady of them all, The Blair Witch Project.  One of the most effective horror movies of all time, and a completely new experience.  There are people who claim now that it’s only really remembered because it was the first, but I re-watch it once a year or so and it’s just a really, really well-told story and so effective.

For my money, the greatest found footage film of all time is Gareth Evans’ segment from V/H/S/2, “Safe Haven”.  That is as nearly perfect as a short horror film can possibly be.  I love The Sacrament, which has a very similar feel in a lot of places.  I’ve never really understood all the hate that Ti West’s segment in the original V/H/S gets.  That short, to me, really nails what I love about found footage, which is how completely real it feels.  So when you realize that really awful things are about to befall a very real couple, it’s a thousand times more terrifying to me than every ghost story that Hollywood has ever put out combined.

There’s a really obscure film called Skew that also does the same thing very effectively.  This movie was actually made before Paranormal Activity, but didn’t get picked up until much later, which is a shame, because it’s so good.

I totally agree with you about The Frankenstein Theory, which was really well done up until the last ten minutes or so.

Overall, I like movies that really commit to the premise.  I enjoyed Cloverfield and Chronicle and [Rec] and movies like that, but they don’t have the same sort of visceral punch as a movie that really works hard to convince you that it’s real; not necessarily on an intellectual level, but on a visceral one.

Q) In your videos for your film you talk about practical effects. I have always thought that if it is real on the set then it looks real to the audience. I believe that is laziness more than money that makes beginning film makers use cheap CGI for blood, bullet wounds and even scars. I don’t mind CGI for background, it was done well in Gladiator to reproduce ancient Rome and it is done well in the tv series Gotham for making elements of a city that does not exist. How important were practical effects to the making of your film?

A) There’s nothing at all lazy about making any movie, I can assure you, especially a low-budget one.  It’s a grueling process that often takes years to bring to fruition and requires dozens if not hundreds of people working together seamlessly as a unit to pull off.  So I certainly understand where filmmakers are coming from when they decide to use CG instead of practicals a lot of the time.  It’s not about laziness.  It’s definitely about budget, and about control over the final product.

Actually shooting the film is the most costly part of the process.  Every hour you spend on set you are paying dozens of people, most of whom are sitting around waiting at any given time.  So a practical effect that takes time to set up or reset between takes can get very costly very quickly, completely independent of how much the effect itself costs. When you compare that to one or two guys pushing pixels in a studio four months later, you can often get much more bang for your buck with digital.

But as will all things in filmmaking, it requires talent, planning, a lot of work, and a little luck to make any effect work.  Ultimately, CGI is a tool, and like any tool, it has its uses.  I wouldn’t use a hammer to cut a piece of paper, and I wouldn’t use a wrench to drill a hole in something.  It’s all about figuring out which tool works for which problem, within the confines of what you can afford.

So yes... it was very important to me to do as many of the effects practically as we were able to do.  But I didn’t let that stop me from deciding to use CGI where appropriate, either by itself or to enhance the practical effects.  Gore effects rarely look good when they are all CGI, unless you are wiling to spend a lot of money.  But practical effects sometimes don’t work right, and you end up having to fix it later because the sun is coming up and you have to get your shot, one way or another.  That’s a big part of the reason we are doing this Indiegogo campaign: to fix one practical effect that looked awesome when we tested it, but—through no fault of anyone in particular—just didn’t work on the day.  So my choices were either: a) live with the really bad practical effect, b) do a really cheap CGI effect that would look just as bad, or c) spend the time and money to do the CGI right.  I want (c).

Q) You are in the Post stage of your production. This is the most overlooked part of the film making process. Only when the final shoot has been recorded do many first time film makers realize that the hardest part is actually ahead of them. This being your first 3D film were you prepared for the challenges that you are now facing?

A)We did a proof-of-concept in 2013 to test out a lot of the really difficult stuff, especially with regards to the 3D aspect.  So we really worked out a lot of the kinks by going through that process.  We made a ton of mistakes and we learned from them, so we went into the feature with our eyes open.

That said, we still have a long way to go before we’re done.  But I’ve found in making my movies that my complaints in post-production are rarely technical, but usually artistic.  I find myself wishing I had directed an actor differently, or shot something from a different angle, or gotten more coverage of a scene.  Some of those things can be fixed with reshoots and ADR and visual effects, but some of them you have to live with.

I’m getting to the point now in editing the film, especially with the ability to take a few weeks away from it while I concentrated on the Indiegogo campaign, where I’m starting to forget the movie that I intended to shoot and starting to see the movie that I actually shot.  So instead of being about, “Oh, I wish I had done this thing better,” it’s more about “How do I make the best film possible with the materials I have at hand?”

I’m usually my own harshest critic.  But overall, I’m very happy with how the movie is shaping up.  When we’ve shown it to people, they’ve largely laughed in the right places and gasped in the right places, they like the characters, and they come out of it satisfied.  So I think we’re on the right track.

Q) Film makers do what has been done before because it is easy to market. You open a pizza shop and sell the same kinds of pizza as all the others because you do not have to educate a public about a new thing. Found footage shot as 3D is a new thing. You are basically going to be the first person to market stuffed crust pizza. How long did you prep for the marketing challenges?

A) Ugh... this has been the greatest blessing and the greatest curse at the same time.  So many people see the title and they assume that we are making a gimmick, not a movie.  They expect Sharknado, which is a funny concept that’s basically unwatchable as an actual film.  So we have a real uphill battle trying to educate people about what we are trying to do.

We started our marketing efforts very early, and I’m really glad we did.  Aside from amassing more than 25,000 fans before people had even seen a single frame of the finished film, we’ve also been able to really hone our message and figure out how to sell the film to audiences.

I decided to make this movie because I love found footage, and I hate the way that it has become a bit of a joke because there are so many people who are so bad at it who keep flooding the market with crap.  I really feel like it’s exactly the right time for a movie like ours, and that it will appeal to people who love found footage, as well as those who think it’s overdone.  If I can get that message out, I think we’ll do fine.

Ultimately, the movie will speak for itself. If it’s good, people will tell their friends and more people will see it.  Hopefully, it will be good when we are done.

Q) Any advice for future film makers? Particularly those who are going to attempt to jump the found footage hurtle?

A) Don’t.  Found footage is a really tough sell these days precisely because so many people are trying to do it, and so many of them are failing at it.  So unless you have a truly killer idea for something new and original, it’s probably a genre that, at least for the next few years, it’s better to stay away from.  I realize that may sound a little hypocritical coming from a guy who is making a found footage movie, but it’s the truth.

Ultimately any movie is about telling a good story.  And if you are a good storyteller, you will find people who are willing to go along with you on a journey, whether they be actors, investors, crew, producers, etc...  So the best advice I can give—if I’m even qualified for such a thing—is to hone your craft.  Work on as many movie sets as you possibly can and watch and learn from people who really know what they are doing (as well as from the people who clearly don’t know what they are doing).  Go out and make short films.  Get good at it, first.  Then try to make a feature.

Found footage is so tantalizing to first-time filmmakers because it looks easy.  It’s not.  Found footage is not some shortcut where you get to bypass all the essential things you need to know to make a decent film—acting, writing, pacing, camerawork, editing, sound, etc.  There’s a reason why you have to prove that you are good at those things before anyone will give you money to make a real feature.  So get good at those things.  If you think you are capable of making a good feature film, and you have a story that you think is worth telling, then it doesn’t matter whether it’s found footage or not.  It doesn’t matter whether it’s going to cost ten thousand, a hundred thousand, a million, or ten million.  If you’ve proven that you are capable of pulling it off, then people will help you achieve that goal. If you haven’t proven yourself capable of those things, then you have no business wasting everyone’s time and money.

I just happened to want to tell this story, and it happened to be found footage.  If I’d had a more traditional story to tell, I would have worked just as passionately to make that happen, and probably a lot of the same people would have come along for the ride with me.

Ultimately, there is no substitute for hard work, talent, and experience.  If you don’t have those three things, wait until you do.  Because you rarely get a second chance in this business.  Make it count.

Thank you again Steven and good luck with the campaign and the film.

     Okay guys that is it for today please take a moment to like this post on Stumbleupon and to share it with a friend. In closing I would like to add Steven's award winning comedy short film First Date.

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