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.


 

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.





 

Horror Film Writing, All About the Chase

Horror Film Writing, All About the Chase


For the longest time those who would write a horror movie have confused horror with thriller. This is not surprising since most film companies advertise thrillers as horror films. Before you sit down to write a horror film or a thriller you must keep one rule in mind.

In a horror film something is chasing the lead character.


In a thriller the lead character is chasing something.


In Halloween Michael Myers doing all of the chasing.


In Silence of The Lambs Agent Starling is doing all of the chasing.

 I understand that despite the fact that Agent Starling ends up in a classic horror film situation near the end of the film it is still a thriller and not a horror film. In almost every thriller the one who is chasing ends up being chased in act three by the villain.


In a horror film the chase does not end until the credits are about to roll if the main character survives.
The next thing you must keep in mind is that the audience has seen it all and surprising them is most likely not gonna happen so I would avoid rehashing the cool kill scene from Elm Street 4. Instead you should focuse of crafting characters who the audience can care about. All great horror films have the same thing in common. All of them, back to the earily days, from Frankenstein to the Wolfman, The Thing to Night of the Living Dead, Alien to the Descent, The Exorcist to The Sixth Sense, have strong characters in common. Even the ones that are going to die are relatable to the audience. Watch any horror movie and I promise you that the first sign of a bad one is that they are populated with characters that the writer and director do not like or even hate.

Consider these things when writing your horror film. If you would like more advice on how to write your low budget film I would suggest (shameless plug coming) getting a copy of my book On Writing a low Budget film. You can click the image on the side of the page. It is available at Amazon, B&N, iTunes and Smashwords.

Writing a quality screenplay or finding someone who can is ob one of producing a great low budget film. Your script is your blueprint and everything you do as a digital film maker will flow from it. The best cameras and finest sound equipment on earth will not save a bad script.



Consider this and try to study a few classic horror films to understand the way a good script should be structured. I would recommend reading the screenplays for the films The Exorcist (best horror script ever), The Sixth Sense, Alien and Tom Holland’s script for the original Fright Night.  Stephen King was right when he said if you want to be a good writer then you have to read a lot if you wish to write well.

That will be it for today. Take a moment to share this post and to add me to your google plus. On google plus you will get updates from my other film making sites.

  

Me + You, Interview Part 2

Me + You, Interview Part 2

The is the second part of my interview with Iyin Landre, the film maker behind Me + & You.
If you would like to help with her Kick starter campaign you can do so by  clicking here .

Q8. You wrote the script. There are a lot of ways to write a script. Some start from a outline or even a narrative story and then craft the script. Others just sit in front of a blank screen and do not stop writing until the rough draft is done. How do you approach the screen writing process and how long did this script take to write?

A8: I actually finished writing my first draft as a result of taking a screenwriting class. The first week we went in with a logline – mine was, “An American girl travels to Brazil and some f**ked up sh*t happens.” After that, I wrote 10 pages a week and in a couple of months I finished the script. I would say that my writing style is to have a basic outline in terms of major story arcs, but I usually just write according to how I feel the scenes should flow.


Q9: Hollywood prides itself on diversity. Film makers looking at the industry town from the outside would point out that they may achieve diversity in the form of cast and or crews at times, in thought and content it is still a industry built upon types and type casting. There are films that will never get made, stories that will never be considered and actors never hired because they do not fit the world view of what they believe will sell.

For the first time since Jackie Chan did Rush Hour (and his part in that film fit perfectly with the type casting that the Industry does) a major studio summer release had an asian actress, Rinko Kikuchi, as the co-lead and that movie was Pacific Rim. A film directed and produced by one of the world’s greatest film makers, Guillermo del Toro, who has never officially worked inside the Hollywood system so he did not get the memo saying that casting choices like that are not done around here.
You are an Asian actress in Hollywood, would someone from your background ever had been considered for the lead in a film like your's even if it was specified in the script?

A9: I think if I were an already established actress with some clout, then yes, my name maybe would’ve been thrown in the mix. But since I’m not, the possibility of me being cast in my own film was probably slim to none. But to be frank, there just aren’t many Asian or Asian-American actors playing lead roles in films outside of Asia. I remember reading an article where Lucy Liu (our most notable actress) said that she’s not approached to play the lead in romantic comedies because people don’t see her in those roles, like they do Julia Roberts or Sandra Bullock for example. In my opinion, I think we need more Asian-American filmmakers, more people behind the scenes writing, directing, producing films in order to see change. You can’t just complain of seeing stereotypical portrayals in the media and not do anything about it – because to instill change, you actually have to go out there and create new images, stories to replace the old ones.

Q10: If the parts are not being written or casting directors are not willing to consider all types as being equal options for any given role is it going to be up to actors to create roles for themselves?

A10: I can’t speak for other actors, but for me it’s always been the case. I wanted to do more than play the Asian masseuse with an awful pan-Asian accent, or even play the doctor or lawyer – I wanted to be play dark gritty characters with depth, complexity, characters that dove head first into danger, action. And seeing as how I was rarely called in for roles that excited me to that length, I realized I had to write them myself, for myself.



Q11: Have you decided on the camera and the equipment that will be used on this production? Have you settled upon a DP?

A11: Have been looking into cameras that will fit my budget – may do the Red Scarlet, and also have a Black Magic 4K or Mark III in tow for scenes in the favela, for better motion and movement. Have not decided on a DP, will most likely crew up in Brazil this way I can save on production/travel costs. But the style of cinematography I’m looking for is a cross between City of God/Y Tu Mama También/Elite Squad – fluid motion mostly steadicammed or hand-held.

Q12: How much of the movie will be shot here and how much in Brazil?

A12: All of it will be shot in Brazil!

Q13: Since you are an actor by trade I think that the film makers out there would like to
know what is it that actors expect from them? There are going to be productions where there is no pay or the pay will have to be deferred. Where the film maker is just starting out and all that they have is a good script and a borrowed Dslr camera. Should they approach who they believe to be the best possible actor or actress available or should they lower their expectations?

A13: Yes I say always approach who you want first. I read an article where Hugh Jackman did some student shorts not too long ago. As an actor, I expect the director to know what he/she wants, to have a very clear vision but also be able to collaborate and listen to those around him/her. But I think most of all, it’s to foster a safe environment for the actors, where you gently shape their creative expression into how you see fit for the story.

Q14: When starting work on a new project what are the things that are going to impress an actor and what sends signals that the film maker is not up to the job?

A14: I would say wishy-washiness and lack of preparation. If the film maker isn’t sure of what he/she wants, or doesn’t have a plan when we get on set – it makes me doubt the final product.

Q15: Okay back to the subject of your project. You have set a goal of seventy five thousand dollars. If you do not reach your goal the first time around will you press forward? Will this move get made no matter what?

A15: Yes we are making this film no matter what. With Brazil set to host the World Cup in 2014 and the Olympics in 2016, timing will be an important factor to the degree of “heat” on our movie – so we’re plowing full steam ahead.

Q16: It is said that you know that you are doing what you were meant to do when you feel a kind of freedom that goes beyond words. That the thing that you are doing is effortless. When you were in a foreign land, surrounded by people who spoke a language that you did not understand yet, shooting scene for your trailer, did you find that kind of effortless freedom?

A16: I hadn’t thought of the word freedom to describe what I felt, but I think that’s a very astute description. Because there were so many unknowns – the city, the language, the culture, not having a cast or crew – I really had to believe in what I was doing or else I had absolutely nothing. And in starting from zero and building from the ground up, I had to slough off any pretensions, any fluff and ask myself whether or not I could do it at all. I think in being so single-minded, it helped me to realize that I was doing exactly what I was meant to do.



Again, thank you for doing this interview Iyin. I wish you the best of luck with your campaign and the production of the film. I look forward to posting the trailer for the finish film.

http://www.twotwelveprod.com/


Okay guys I am going to be taking a few days off from posting. I have a ebook to edit. I think that the up coming posts will be about using your own social media to help market you work. The other post will be on the topic of how many independent film makers narrowly define being indie as having to fit into certain categories. By far the most success indie film maker of the last eight years is not mention much or show much respect by the larger indie universe. Think about who I could be talking about, I bet that no one guesses right.


That is it for today guy, thank you for visiting and please take a moment to share this post with a friend and to stumble us on stumbleupon.