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Posts Tagged ‘filmmaking’

“We tend to overestimate what we can do in one year, and underestimate what we can do in ten.”
Richard Foster
(Quote often attributed to Bill Gates, but I believe Foster wrote the line years before Gates wrote or said it.)

Screenwriter Dana Fox was 2 for 2 when she followed her career trajectory question to Rob McElhenny on Scriptnotes episode #299 with a question to writer/director Rian Johnson about his career trajectory that led to writing and directing Star Wars: The Last Jedi.

“I was never good or smart enough to get industry work before I made my first movie. I basically wrote Brick right out of college and essentially tried to get it made through my 20s. I didn’t make it until I was 30, but the whole time I was trying and kept almost getting there and it kept falling apart. But I was working some really wonderful jobs like I worked at a preschool for deaf kids for a while, I worked at the Disney channel producing promos for like Bear in the Big Blue House—really good jobs but nothing that was like I was making money doing what my sights are set on. So when I started doing it it was starting with this really personal thing and then I was very, very lucky and able to just kind of keep doing it.”
Writer/director Rian Johnson

It’s also worth pointing out that Johnson graduated from USC film school (same school Star Wars creator George Lucas attended) where he made short films, and continued to make short films after school. When he finally got Brick made for $500,000 it won the   the Special Jury Prize (For originality of vision) at the 2005 Sundance Film Festival, and won Best First Film at the Austin Film Festival in 2007. He then followed that success with The Brothers Bloom (2008), Looper (2012), and directed the  Ozymandias (2013) episode of Breaking Bad, before given the Star War reins. A good example of being persistent and building on small successes that brought him to the intergalactic stage.

Scott W. Smith

 

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Today I’m going to the premiere of the doc This Cold Life at the Florida Film Festival. It will be anything but cold today in Maitland/Orlando, Florida as the mid-90 degree temps are some of the hottest in the United States.

Much of This Cold Life was shot in Longyeabyen, Norway, “the world’s northernmost town.” Darren Mann directed the doc and is someone I did camera work for years ago for TV programs he shot in Minnesota and Iowa. I look forward to seeing him at the premiere and seeing a part of the world I don’t recall ever seeing before.

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“Hollywood is a place where they’ll pay you a thousand dollars for a kiss and fifty cents for your soul.”
Marilyn Monroe

James Gray is a working writer/director who back in 1994 made his first feature film at age 24, and his latest film (The Lost City of Z) is hitting theater this month. But in the recent article Jame Gray and the Struggle of the Middle-Class Filmmaker he lays out the difficulties beyond student loans and getting movies made:

“You know, people assume that because I’m a director, I make tons of money. I am struggling financially. Now, I’m very lucky I get to do what it is I want to do. I’ve made, good or bad, very uncompromising movies, the movies exactly that I wanted to make, and that’s a beautiful gift, so I’m not complaining about that. But I struggle. I have a hard time paying my bills. I’m 47 years old, I live in an apartment, I can’t buy a house. If I were coming of age in 1973, I would be in Bel Air. The whole reason for this is…the middle is gone. So now you have franchises, and you have, ‘I made a movie on my iPhone.’ This is the economic system in a nutshell, right? Five directors make Marvel, and then there’s the rest of us who are trying to scrounge around to find the money to make films.”
Director James Gray (The Immigrant)
Vulture article by Kevin Lincoln (4/14/17)

P.S. The most read post I’ve ever written on this blog over the years is the 2009 post How Much Do Screenwriters Make? It’s not a perfect post, but I think it’s a fair reality check and discussion starter. By the way, if you read that post and would like to clarify how writers (and how much) working writers are paid—from Hollywood to Nollywood—shoot me an email at info@scottwsmith as I’d like to clarify the process and reality as much as I can for others.

Related Posts:
Screenwriting Quote #189 (James Gray)
‘The Immigrant’

Scott W. Smith

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“The advice I give for filmmakers starting out is don’t wait for me. Don’t wait for the industry… It’s a mistake to wait for Hollywood to tell you you have a good idea. If you have a good idea, try to make it on your own as cheaply as possible… on your phone.”
Producer Jason Blum (Whiplash, Get Out, Paranormal Activity)
(His Blumhouse Productions focuses on making films in the $3-4 million range)
IndieWire/SXSW: Low-Budget Producer Jason Blum on the Secret of His Success by Paula Bernstein

Related Posts:
“Don’t try and compete with Hollywood”—Edward Burns
How to Shoot a Feature Film in 10 Days
10 Low-Budget Filmmaking Quotes
Shooting a Feature Film in a Coffin
Aiming for Small Scale Success First

Scott W. Smith

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After film school, filmmaker Brandon Li (@rungunshoot) spent eight years working in reality TV before carving his own path making films in unlikely places. Here are a few samples of his work followed a talk about his background and creative process.

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Sound Design (Foley)

In continuing a sweeping overview of various people and jobs that help make movies, today I’ve found five videos that explain and demonstrate sound design from the perspective of foley.

While Hollywood feature films will have a team working on sound design, the techniques that are shown here can be scaled down to smaller idependent productions.

P.S. One of my favorite sound design stories was a behind the scenes video or commentary on Cast Away where someone commented that they auditioned 100 photocopiers to find the right sound.

Scott W. Smith

 

 

 

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Film Editing

“For a writer, it’s a word. For a composer or a musician, it’s a note. For an editor and a filmmaker, it’s the frames.”
Quentin Tarantino

“The sad fact was the shark [in JAWS] would only look real in 36 frames not 38 frames. And that two frame difference was between something really scary and something that looked like a great white floating turd.”
Steven Spielberg

Scott W. Smith

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