Ingenuity and creativity can turn budgetary hindrances into an independent masterpiece.
Will lack of experience hurt you, maybe. Will lack of equipment, never.
If you think you can do it, then do it. You obviously have no money, so no money will be lost. And if you fail utterly, it’ll only help you learn how to do things better the next time.
Just be fully prepared to fail, and don’t let it get you down if and when it happens. I can’t tell you how many false starts and incomplete projects I have on my hard drives, but it all helps in the long run.
A lot of people think their scripts are “very good.” Is it possible you have to high an opinion of you’re own work? No offense, but I’m a bit put off by such boastful claims, particularly coming from a someone I presume to be a relative beginner.
But, I’ll say this much: A strong script and great acting will resonate regardless of whatever technical limitations you may face. See Festen or Breaking the Waves as examples. BUT, quality acting, sets, costumes, are all very expensive. Even if you shoot on-location like the Neorealists, costs can be prohibitive for a young filmmaker seeking to shoot a feature.
If you have few resources, try to write something that won’t cost too much to produce; i.e. few characters, few locations, and few special effects. And, I’d definitely focus on making a short rather than a feature length film. If it’s good enough you might be able to convince producers to finance a feature length version of your short. That’s how Wes Anderson made Bottle Rocket.
Lastly: Don’t let nay-sayers discourage you. Practice makes perfect. Even if your scripts aren’t as good as you think, they eventually will be if you keep at it.
i just read your post a little more carefully. you mentioned your lack of equipment and lack of experience, and asked if that will hold you back. i think you answered your own question.
finish your studies. follow your coursework. be patient.
My advice is if your work is the best you have done so far but would be something that would benefit from money then hold on to the idea until you either have enough money to make it into a short (assuming its a feature) and shop it around to get funding for the feature.
Also, if your area or closest major city has a film co-operative or gear houses I would recommend getting a membership and putting in some volunteer time there or try to get a part time job. This will benefit you by being able to get gear cheaply and allow you meet other filmmakers, DOP’s, Sound Designers, etc who may have their own gear but are in need of a project.
Since you are focused on making dramatic pieces I would say your major concern should be casting, finding the right actors for your roles is the most important job a director has because the wrong person will kill your vision. This is just my two cents I’m still working at it myself but this is what has helped me over the years.
Kevin: I didn’t mean for it to sound like that. I feel that my scripts are very good under the circumstances of me being a beginner. By no means to I think I have written anything amazing. Also the scripts I have written are probably shorts (more 30 minutes than 10 minutes though) and have few characters and little to no special effects. I just asked my question because I use my camera all the time even if not for scripts I have written but I am still inexperienced. I just wonder how do I get experience if I don’t get out there and try something. Thanks for your comments.
I think you’ll find this really interesting Drew:
Whoa, sorry Drew! I’m not sure why I was being so high-handed. I suppose I’ve collaborated with too many people who thought they were “ready” when they actually needed to continue their education. (and, I’m not even a filmmaker) But, no, you seem to have the right attitude, and I know you have really good taste. From your response, you appear to have good judgement as well.
I hope to see one of your films some day!
Garage. There’s a whole school on here
(kind of rebooting and in redevelopment) designed to answer your exact questions and direct you to the right equipment/software/information. Just message me or MAO for now.
Incidentally…
“BUT, quality acting, sets, costumes, are all very expensive.” No. That’s absolutely not true. Especially the quality acting bit.
And this
“everyone I have talked to has said that it isn’t possible and I need to stick to documentaries and little comic shorts” —-you are talking to the wrong people. Anyone who tells you that is projecting their own failure of the imagination.
Drew,
Having done this, I would add the following: don’t fall into the trap of trying to do everything yourself. If you try to direct/shoot/coordinate everything, the one thing that will suffer is the most important: the directing of the film and the actors.
I think the hallmark of so many beginner films (and the one thing that audiences are least likely to forgive) is precisely under-rehearsed actors and scenes. You can have less than perfect visuals or sound, but as long as the actors and the material work, the film can be persuasive.
You can’t concentrate on directing if you are also setting up the camera, helping sound out, and thinking about where to order pizza for lunch. Continuitiy is apt to go to hell too, because everyone is so busy that no one sees the half-empty, then full glass from take to take. If you are very lucky, you will have actors who can cope and who will deliver more than expected under such circumstances, but don’t count on it.
I shot a 16mm adaptation of Ray Bradbury’s “Calling Mexico” in college, in one day. Never again, even though it won ‘best of class’. I had a brilliant lead, a man much younger than the part, who knew how to ‘age’ himself’, and crew-wise, there was me and one classmate running the Nagra.
But with real rehersal, a bigger crew and a much more realistic schedule, it could have been really good, as opposed to ‘barely done.’
bad sound will kill your work quicker than bad acting. a movie is almost completely unwatchable with bad, unprofessional sound. ironic. seems that bad visuals would have more of an effect, but they dont. bad sound is the ultimate x factor in amateur/college/independent film.
Nothing will help you more than making films. No matter which camera or gear (or lack of) you have, start making films.
Drew,
Being a young filmmaker myself, I feel that the best advice I can give you, is to read Cassavetes on Casssavetes. In addition if you have an old 35mm or just any small photograph camcorder; carry such an item with you and take many photographs. Sometimes this can help one in regards to getting such inspiration and finding ways to make your writings become reality. “Leave the substance for the shadow…”
read robert rodriguez’s book “rebel without a crew”. that will give you a ton of practical information about the realities of making a feature film with limited resources.
Whatever creative field you’re in just keep working at it and don’t give up. I find that when I stop writing for a few days it’s difficult to come up with ideas and then I’m stuck. I sing too but if I go a few weeks without practicing I end up sounding awful. So my best advice is to use your creativity every day. Even if you have no idea as to what you’re going to do. Just film anything. It doesn’t matter if it is or isn’t going to be a part of your film.The point is to improve your skills with the camera. The more you use your creativity the more it will grown. If you rarely use it then it will take a long time to grow at the very least. Keep writing even if you’re having a dry spell , it doesn’t matter if it fits the the story or not or if you think it’s crap, sooner or later you’ll get your story rolling again. Sometimes It’ll come in bits and pieces and sometimes it’ll come out of you like you’ve opened a floodgate.
I like this thread, I’m in a somewhat similar position so I can sympathise with you.
I’m in my first-year of film school. In my final-year, I will have the chance to make a 10-minute short film. It is subject, of course to a pitch, then if successful, I will direct the film with a crew of about 11 other people; not including actors. One of my lecturers, has told me that my University will kick in a few thousand dollars, but that’s it. He has said getting sponsorship for the project is a good idea.
I’ve got a few questions,
1. How do I get the most out of my very modest budget?
2. How do I convince good actors to work for little or nothing?
3. How do I deal with people (most likely crew members, it’s happened before) wanting to make massive changes to my script without being an autocratic dick or a doormat?
4. How would I go about getting sponsorship?
I will probably have more questions. So wait.
Start from what you have. You have a house and four friends? Then write a script about two people that takes place in that one house. If you are a good writer then you will write a good script. If you are a good filmmaker you might make a good film. Don’t just write something from your imagination, films aren’t made there, use it to mold what you have around you. It’s great to write something about Atlantis but if you can’t build it then it’s just a script.
The best short I ever did was one I did about three hours before a class assignment to make a short. I didn’t have a clue what to do. I had quite a few scripts but they were all complex, requiring if not lots of cast then lots of editing, camera tricks etc. So. I was in my apartment with one of the school’s shitty cameras. I had an empty apartment, a tv, a prop gun and a stereo. I made a short about a guy who had disappeared using all this stuff as part of the story. It was very creepy, edited in camera and worked out great. The movie was also oddly self made, I did it so fast that I almost couldn’t tell you anything about it, it existed on its own, it contained its own force, like writing a good short story.
Just make the stuff, that’s more important than polishing the script and looking for funds.
Claus makes the point I wanted to make. Look for people to help put your vision into effect. Even if they are learning right alongside you.
Also, you can make a kind of tripod for a handheld camera with a pair of crutches and duct tape. It won’t be the best but it will give more stability. Use lots of close-ups, they are easier to focus and will show the dramatic nature of the story.
Also, do run-throughs of your script with prospective actors before you start filming, and block your shots down to the letter, so you get an idea of what the finished product will look like. Start with the script that has the least number of characters and settings. If you could condense it down to two people in one setting, that would be best. Minimalism is about making adversity and lack of technical supplies seem like a choice rather than something you’re forced to deal with.
Justin- my crew will be people learning right alongside me. I do agree with you with the minimalism from the script level. When I ever I think about a project for film school I always think about how the ‘film’ can be smaller in size, however I try to balance it with ‘artistic’ and ‘entertainment,’ factors. And Loki, I also agree with you with molding the film with what’s around me; it’s what I usually think about.
Drew- In my experience (from what few production courses I have taken), nothing helps more than doing it wrong a few times, anyways. That’s not saying it won’t come out wonderfully, but be prepared to not be satisfied with everything and learn and do it anyways. Forget naysayers, you can do anything you want. Your first stuff may not win any awards, but whose does? Practice makes perfect, after all.
Drew—If you look at a lot of the aspects of film history, a lot of the great innovations are basically solutions to technical issues that filmmakers found themselves wanting to or having to address rather than artfulness for the sake of artfulness, so just approach it as a series of small problems rather than one big one.
1. How do I get the most out of my very modest budget?"
You get people who are passionate enough or interested enough they’ll work with you anyway, and you trick the rest. You should be surrounded by people who are willing to work for no money, but at least be nice enough to feed them and give them credit for their work.
2. How do I convince good actors to work for little or nothing?
Knowing them as friends helps, knowing them as friends of friends helps, if you really don’t know any serious actors, the chances are there’s someone in your life that wouldn’t even need to act to do it right…. cast for character type, not professional ability. This advice is for beginning shorts, but sometimes it means a lot in the big Hollywood world too. Think about how many movies you’ve seen that would have been fantastic if it wasn’t for the fact that Nicole Kidman played the lead. YEAH.
Half of acting IS directing. You can get people into some good spaces if you are able to make them realize the emotions. I know it’s a cliche, but that whole “what is my motivation?” thing really helps. In each scene, the character should have a goal (else why is that scene there?). Explaining the goal to the actor should be able to get the most out of their work. And, as always, avoid prima donnas. I don’t even understand how those people exist at the lower budgets we work in, but they are EVERYWHERE.
3. How do I deal with people (most likely crew members, it’s happened before) wanting to make massive changes to my script without being an autocratic dick or a doormat?
First, be patient. You can thank them for their suggestion and ignore them, or thank them for their suggestion and remind them that it’s your script, or just say that you understand their recommendation but would prefer to see how your vision comes out. Don’t do the whole “I’m the director, it’s my script, I know what I’m doing” thing quite yet because, well, you’re learning.
But seriously honestly truly, dude: the crew doesn’t change the script. EVER. Unless the director specifically asks for suggestions from the crew, it’s the crews job to realize the director’s instructions, not to write the script. They need to learn that VERY QUICK else they’ll get NO jobs working crew, EVER. That said, I mean, someday a director might want a “crew-directed” movie, which would be interesting…. but I doubt that’s you, at least quite yet. You’re working with instructors, have the instructors make clear to the people you’re working with that it is not their job to direct. Those instructors should have already done that.
So after that knowledge, and after you have been patient, if someone insists on criticizing you, they shouldn’t be working with you. Nix ‘em, you’ll get more done without them, and the same will always be true of that particular individual.
4. How would I go about getting sponsorship?
This I’m less knowledgeable about. Basically, communication, eagerness, and passion. Make clear that you have an idea and know it will work, and that you know how to get it done. Having some actors and crew members ready to show that you’re prepared can help. Be prepared to talk about your script. Hey, it’s pre-production! Your job at this stage is to fully understand how this movie is going to look by the time you’re done with it. If you know how it will look, others should be able to imagine it too.
Good luck!
—PolarisDiB
Have you considered making a film using public domain footage? It is the cheapest way to make a movie. Go to the Internet archive and you will find thousands of hours of footage for free. Craig Baldwin has made a carrer out of found footage feature films. Try to see some ff his films.
To Francisco- No, I haven’t. Also, what Internet archive are you talking about?
Just to let everyone know I went ahead and decided to turn one of my scripts into a film. I have had a ton of trouble getting actors and now they keep canceling on me. But tomorrow I am supposed to start filming! Everyone pray for me that it all works out.
Drew, don’t let some of these naysayers dissuade you. If you have the passion to be a filmmaker and can get a crew and cast together shoot one of your scripts, or part of one of your scripts. The best learning tool is experience, and the classroom will not teach you that. If you can get a cast and crew together to do it, do it! Put your all into it and nothing (lack of equipments, lack of location, etc.) will hold you back. Remember: necessity is the mother of all invention!
Do what is in your limitation.
Sure, you may have written the next 2001 but to actually do that you need money…… and people will not watch your film if it looks so amateur it is unbelievable.
Sound – Is beyond belief important. Get a decent shotgun mic and know how to use software. People will be easily distracted by bad sound, high noise and bad sound editing that is highly noticeable.
Photography – Easier and less important, you could shoot an entire film with one prime 35mm that has a fast enough aperture to create depth. Although I would recommend you get another for semi-close ups.
Acting – In my opinion the easiest to convey believably. Just know what your friends can do, don’t tell them to be Brando, it will end it horror that will be so laughable you will even laugh.
The rest is YOU!
Now to how you get your film – out there – I really don’t know bout, there are tons of small festivals though.
If your aiming for the short range then go with a nice looking DSLR like the Nikon d90 and get a couple primes, a mic and a tripod.
If you are aiming it about 1/2 hour then you are going to need a camcorder. There are tons, XHA1 for smaller budgets hvx200 for larger ones and it stops about there unless you are willing to go ex1-3
You attitude is a little pretentious and you need to under stand that film’s biggest prob is that it relies on money. If you are not willing to make shorts, short documentaries and just want to make your powerful drama right off the bat as a beginner then it will be ‘hardly possible.’
How did the great filmmakers start? Kubrick – shorts , Tarkovsky – shorts, almost everyone else – SHORTS
My age is such a frustrating handicap. People look at me asking for adult actors and laugh. Even people who read my script and loved it. They all say this is great for when you are older. Well you know what? Fuck them!
(see how mature I am!)
Drew.
I am a student film maker and have a question. My video camera is just a hand held camera not a professional camera. I wish I could buy the later but I just don’t have enough money. I have written many scripts that I think are very good. They are real intense, dramatic material though as opposed to jokey and simple. I really want to turn one into a movie but everyone I have talked to has said that it isn’t possible and I need to stick to documentaries and little comic shorts. I don’t like being told I can’t do something and feel I could turn one of these scripts into a good if not great student film. Does anyone think I have a shot at creating something good or will my lack of equipment and inexperience make this an impossible task?