I haven't posted in a couple weeks because I've been super-busy. We lost the composer on our feature film Fucking My Way Back Home that's in the final stretch. And I've been reading the scripts submitted as part of the Microbudget Film Lab Launchpad competition - the winner will get a $2500 production investment in their feature film.
In the first three episodes in this series I talked about the kinds of paralysis that filmmakers faced - and some solutions to those forms of paralysis: specifically financial and organizational paralysis. In this webisode, I focus on creative paralysis. How do you get a great story? How do you turn it into a great script? What do you think?
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.
Have you spent years sitting on a great story, waiting and hoping that it will get made? You're not alone. I know lots of filmmaker and get emails from many more that have "filmmaker paralysis" - the inability to move forward with their feature film project. As part of a four-part series of vlog posts I discuss here the causes of filmmaker paralysis.
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?
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.
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".
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