I loved this interview with the founder of the Craft Film Fest in Barcelona, Vanessa Pérez de Somacarrera. She is determined, ambitious, playful and most of all a dreamer - all great qualities if you want to make microbudget films - or a microbudget film festival founder.
Almost every guru, every screenwriting book, every screenwriting teacher will tell you that you should "WRITE FOR THE MARKET" (in bold letters, yes). I want to suggest that this is terrible advice for a few very good reasons. Here's why. Tell me what you think in the comments.
I've watched a lot of microbudget feature films and I see the same common problem with them over and over. Well, two problems actually. Here I discuss what that is and how I think you can avoid it.
I get a lot of questions about marketing & distribution. It's no wonder: who wants to go to all the trouble of making a feature film and have it watched by 10 people.
I get a lot of email and Facebook messages every day from people from all over the world. It’s incredibly rewarding to feel that connection to so many filmmakers and see the possibility of building communities and movements.
No-budget films are usually made by people who aren't getting paid. But this is controversial to some who think that if you can afford to make a movie you can afford to pay your crew. Is this realistic? Is it unethical to not pay your crew?
The crazily falling price of film technology and the advent of social media and the “gig economy” have all come together to make it possible for filmmakers without Hollywood connections to produce feature films. Filmmaking tools that used to cost literally millions of dollars can now be had for hundreds to a few thousands of dollars. Aspects of filmmaking can now be “internationalized”, bringing down costs further. Not surprisingly, there’s plenty of great features that have been made for next to no money. Some of them have gone on to great success.
When we typically think about post-production, we usually imagine sitting in a room with the editor, colorist, or audio mixer. But what if you had to do it remotely? On our most recent film that's exactly what we had to do and we discovered, accidentally, that there are definite advantages as well as disadvantages. I discuss these here.
Filmmaker Daniel Kremer has made six microbudget features since 2007 - an impressive achievement. Here he talks about how that has been possible and about his filmmaking method, including his approach to what he calls "structured improvisation".
This was a really fascinating interview with one of my students, filmmaker Josh Jordan, who is about to shoot his first feature - a microbudget called This World Won't Break about a country singer approaching middle age.We covered all aspects of his filmmaking process. Definitely worth watching.
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