In the first video in this 4-part series I talked about the three types of paralysis that afflict filmmakers - financial paralysis, organizational paralysis and creative paralysis. Now I want to start to suggest some solutions to these three things that can help you get on the road to making a microbudget feature film and even launching your filmmaking career.
Are you trying to build a career by making the kinds of films that are known to be successful? Or are you trying to push the envelope and create films that break the mold?
Lundon Boyd is a name you should watch. He is a demonstration of the importance of sticking with it and building a body of work. He has made three micro-budget films and has now gotten distribution for all three. He goes through the whole process in this interview and has some great lessons about maintaining momentum, targeting festivals.
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".
In a recent poll that I took amongst subscribers, I found that the biggest obstacle that filmmakers felt they faced was "raising the cash". Last on the list was writing a great script. Here I argue that this is upside down thinking. Click on the image to check out the video.
Thanksgiving is coming up and then it’s time to start thinking about Christmas. And you know what that means: New Years Resolutions! Maybe you’ve wanted to quit smoking or go to a gym or learn to dance salsa. How about an even better New Years Resolution? 2017 will be the year that you finally become a feature filmmaker!
There's a lot of ways to cut corners on your no budget feature film to get it in the can and out the door. We're big fans of making your film whatever way you can, by hook or by crook. But this is one corner you should seriously consider NOT cutting.
Technological innovation has made filmmaking affordable to millions. But to get truly innovative, microbudget films out there into the world and build audiences, we need something more: we need a movement.
HERE I PROVIDE AN EXCERPT FROM OUR BOOK: MASTER THE NANO ON WRITING GOOD SCRIPT FOR YOUR NO-BUDGET FILM:
Three-act structure gets a bad rep. Blame Hollywood. They have perfected the three-act machine to drain the life and edges out of scripts – catalyst happens at 12 minutes, first act change at 22 minutes, B story introduced at 30 minutes, etc. But this is in part because the three-act structure is such a powerful and simple machine for storytelling. That is, simple to say or analyze – not so simple to do well.
Once upon a time I almost made it to the “big time” in the film industry. It was 2007 and I had just finished a post-graduate program at the Canadian Film Centre. And even more, I had managed to get a feature screenplay into the hands of an Oscar nominated, extremely prolific producer who loved my script. In my head I was already spending the six-figure script fee. I daydreamed meetings in LA with A-list agents. For me this was extra-exciting because, prior to getting into the CFC, I was entirely self-taught. I never went to film school. And, yet, here I was, on the brink of the big time.
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