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Posts Tagged ‘Florida Film Festival’

“The key advice I’d give [any filmmaker] is when you’re starting out make things as cheaply as possible. There is a path for making things so cheaply that the minimal value that most independent films get can still help you to recoup your budget. And that’s a path that the Duplass brothers took really well, and I think it will always be a path. There’s always going to be an appetite for movies of a certain sort and if you can achieve quality with a very low budget you can find a path with an independent film.”
Indie film producer Keith Calder 
Interview with John August on Scriptnotes, Episode #342

Note: The keyword in the title of today’s post is “a.” This is a path, not the only path. But, as I mentioned yesterday, before Scott Beck and Bryan Woods had their names attached to the current #1 box office Hollywood hit (The Quiet Place), they made a bunch of low-budget films in Iowa.

“Throughout high school and our college years we just keep making movies and feature films for practically no budget.”
Writer/director Scott Beck
#AlwaysAHawkeye video 

Related posts:

How to Shoot a Film in Ten Days
The Ten Film Commandments of Edward Burns
Don’t Try and Compete with Hollywood

P.S. Yesterday I went to see the documentary film Long Time Coming at the Florida Film Festival. It’s the debut feature film of Orlando-based filmmaker Jon Strong. It was the second showing of the festival because the first one sold out hours after tickets went on sale.

I don’t know the budget of the film and Strong did say during the Q&A that the film was in the works for two years. But my guess is it’s an example of a film that was made without a large budget and one that will find a distribution path at ESPN or Netflix. Production-wise Long Time Coming reminded me of another baseball-centered film No, No: A Dockumentary (on picture Dock Ellis) which I saw at the Florida Film Festival a few years ago.

No, No was also very heavy on interviews of past players. And if my memory is correct,  the director said the bulk of the interviews with former Pittsburgh Pirates players was shot over a reunion weekend. Shaping those interviews into a story, finding archival photos and videos (and securing rights and funding to use them) is what can take months and years.

But No, No is a good example of a film that had a niche audience and found distribution.  It’s not a bad idea to find a film in your genre that you like and find out as much as you can about how it got funded and found distribution.

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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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 “If I were given a thousand years to live, I wouldn’t run out of topics in American history.”
Documentary filmmaker Ken Burns

“In the country of baseball, men rise to glory in their twenties and their early thirties—a garland briefer than a girl’s, or at least briefer than a young woman’s—with an abrupt rise, like scaling a cliff, and then the long meadow slopes downward.”
Dock Ellis in the Country of Baseball by Donald Hall with Dock Ellis

When I heard filmmaker Ken Burns speak Monday night at Rollins College he used a phrase I’d never heard before—”emotional archaeology.” He said that’s what he aims for in his work which includes the documentaries The Civil War, Jazz, and Baseball.

Burns added that “Who are we?” and “Where are we going?”are key questions he tries to answer in his work. Others words that he said his work often addresses is “race,”  “space,” and the shared experience of life as a struggle.

And just when you thought I wasn’t going to write about baseball anymore I have at least one more baseball-themed post to sneak in—the new documentary No, No: A Dockumentary (2014) on Major League pitcher Dock Ellis who in 1970 threw a no-hitter while on LSD.

Jeff Radice directed the film and I hope to catch it tomorrow night (4/10/14) at the Florida Film Festival. Judging from the trailer the doc seems to cover race, space, and life as a struggle. You know, emotional archaeology.

Related post: 40 Days of Emotions 

Scott W. Smith 

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“I am big. It’s the pictures that got small.”
Norma Desmond
Sunset Blvd.

“Film will only become art when its materials are as inexpensive as pencil and paper.”
Jean Cocteau

“The future of filmmaking is changing and mobile-generated art is fast becoming the next medium for film. In five years, I believe we will be watching films in movie theaters that have been shot on a mobile phone.”
Spike Lee
(April 2008)

I stopped laughing years ago.

Back in 1995 I had a friend tell me she was getting married to someone she had met on the Internet. That was uncharted territory back then and fodder for many jokes.

Four years later when the creative team behind The Blair Witch Project stunned Hollywood with the use of their unusual marketing on the Internet it got everyone’s attention.

Now almost ten years later it seems as if the whole world has jumped on the Internet bandwagon. Video for the web is exploding and it’s hard to be surprised by the technological breakthrough of the month.

There is a new cinema coming and for the screenwriter that means new opportunities. So in two parts I’ll attempt to give a sweeping overview of this new world.

In May of 2005, I was on a shoot in Cape Town, South Africa when I read an article about a director in the United States who was making a national commercial with a cell phone. That’s when I thought to myself, “Someday, someone’s going to make a feature film with a cell phone.” In December of 2005 in Johannesburg, South African filmmaker Aryan Kaganof, shot the first dramatic feature film, SMS Sugar Man, entirely with a cell phone. A cell phone.

Kaganof, an accomplished filmmaker, told Ryan Fortune of Johannesburg’s Sunday Times’, “We are re-writing the book on cinema here…things will never be the same…from now onwards, all you’ll need (to make a film) is a good idea, a cellphone, a laptop and you’re off. It opens up a whole world of possibilities….” Fortune commented that the film is a perfect example of leap-frogging meaning a technological leap had occurred much like it had ten years previously with the advent of DV cameras and non-linear editing systems.

But also in 2005, the first feature documentary shot entirely with a cell phone was being shot. Italian directors Marcelo Mencarini and Barbara Seghezzi co-directed the 93-minute film, New Love Meetings. “With the widespread availability of cell phones equipped with cameras, anybody could do this,’’ Mencarini said, “If you want to say something nowadays, thanks to the new media, you can.”

Within a year of the cell phone feature breakthroughs, cell phone film festivals began popping up around the world. For the naysayers out there who question the quality of the equipment or films being made need to view the first copyrighted film, Fred Ott’s Sneeze. It was made in 1894 and features, well, Fred Ott sneezing. Yes, I paid a lot of money in film school to learn that, but you can see it free on You Tube.

In fact, you can see quite a lot on You Tube. Not just silly videos of teenagers lip-syncing pop songs, but there’s a mini film school hidden in there. Classic clips from Charlie Chaplin films, the opening tracking shot in Orson Welles’ Touch of Evil, and the shower scene from Hitchcock’s Psycho are available for you to study.

And you have to admit Judson Laipply’s The Evolution of Dance is original and funny. You have to take notice of a video that gets viewed 10 million times in its first two weeks and a year later as I write this is still the number one all-time viewed video on You Tube with more than 83 million views.

Things have evolved very quickly in digital filmmaking and distribution. I don’t know if there are more people making money in the digital world but there is a heck of lot more content. And that is a start and gives us a taste of what is to come. We know that the Internet is shaking up the industry as more and more people spend time on the Internet and less time watching TV programs and going to movies.

We know that in a few years video stores will probably revert back to the small mom and pop stores that sprang up in the 80’s with the demand for video rental. Stores like Blockbuster will have to diversify what they do to survive. I don’t think the need for people renting movies will ever totally go away, they’ll just become more like those funky retro record stores. (Heck, people still collect 8-track tapes.)

One of the good things that may come out of this is the rebirth of the filmmaker as artist. Because of the high costs of making films, filmmakers have always had an uneasy agreement with commerce. Only certain type of films could be made. Ones that could find a large audience. The goal was a high return on investment.

With the rise of the super blockbuster it was once believed that the studios would then make more smaller, less sensational films. That didn’t happen. Once studios got a taste of 100 million dollar box offices then that became the goal for every film. Bruce the shark in Jaws killed more than people.

Over the years I’ve read article after article where actors, directors, writers, and cinematographers lament over not making the kind of films they really want to make. Part of the problem is they too are caught up in the machine. But every once in a while a flower breaks through the concrete and gets made for the joy of it. Because the writer and or director have a vision beyond simply the box office. The real exciting part is when those films make money.

Not all digital films will turn out as well as Sketches of Frank Gehry, but that is part of the process. Remember, before Francis Ford Coppola made The Godfather he cut his teeth on Roger Corman films. Ditto that for Titanic writer/director James Cameron and many other filmmakers. Let’s look back and how far we’ve come in a short time.

I remember in the late 90’s when a filmmaker from New York told an audience at the Florida Film Festival, “I am a filmmaker, I make films with film—I’m not interested in video.” Many film festivals didn’t even allow films shot on video. Looking back it reminds me of the days when snow boarding was outlawed at ski resorts in Colorado. (Snow boarding now represents more than half the revenue at some resorts.) Things change. And these days they change rapidly.

When I was in film school in the early 80’s there was a line drawn between the film and video world. The film students looked down on the video and TV students,  just as did film actors looked down on TV work.

As the 80’s progressed both the VHS videotape market and cable TV opened new opportunities for filmmakers and the lines between film and video became blurred. The year 1994 was the year that I gave up being a film snob. That was the year that Hoop Dreams was released.

I didn’t care what it was shot on it was simply a great film—even if it was shot on video.

Film critic Rodger Ebert would later call it the best film of the 1990’s.  Up until that point there had been a lot of dabbling with video in Hollywood. Jerry Lewis was the first to use video assist on a film for his directorial debut The Bellboy. The first feature film shot on video was 200 Motels, co-directed by Frank Zappa in 1971. Coppola explored with video on The Outsiders back in 1982 mostly for a reference point while working with young actors.

This is a good place to end part one of New Cinema Screenwriting. My last post touched on David Lynch shooting Island Empire on DV and swearing not to return to shooting film. Whether that is another one of Lynch’s bizarre dreams or in fact reality time will tell.

“I think there’s a slight trend toward embracing new cinema, non-Hollywood blockbuster cinema. It’s not erupting, but because of the Internet, I think people have more of a chance to get buzz going on alternative cinema, so I think it’s hopeful out there.”
David Lynch

Granted this is all in the beginning stages which reminds me of an interview I saw last year with the founder of the Geek Squad who said, “What people don’t realize is the internet has not yet started.” Keep in mind that it wasn’t too long ago when Bill Gates dismissed the power and future of the Internet.

There is nothing wrong with having Big Budget Technicolor Hollywood Dreams but keep in mind that today in little towns and villages all over the world there are people experimenting with little digital cameras (even cell phones) and making movies. Writing words and making movies. And tomorrow we’re going to be watching some of those films.

It’s kind of like the golden age of Hollywood when they cranked out film after film to hungry audiences in a pre-television era. Films were sometimes made start to finish in a couple weeks. That’s how some directors directed over 100 films.   Most of those films are forgotten but the ones that survived shine brightly.

The first John Ford film that most people have heard of and perhaps even seen is Stagecoach which he made in 1939. (Though he did win acclaim for Arrowsmith and The Informer in ’31 & ’35)  Before he directed Stagecoach Ford had made 94 films in 22 years. (Think about the learning that went into the simple process of making that many films.)  There is a reason that Orson Welles’ is reported to have watched Stagecoach 40 times before he directed Citizen Kane.

He was in his 40’s when his career got rolling and making the films that we remember him for making. And he directed into his 80’s. There are some great older directors and screenwriters out there that the Hollywood system has forgotten even though they have some films still in them. Maybe if they pick up a digital camera they can make their best films yet.

Speaking of 1939, has there ever been a single better year for movies than 1939?

Maybe this new cinema is a return back to the future.

“I’m ready for my close-up now, Mr. DeMille.”
Norma Desmond
Sunset Blvd.

New Cinema Screenwriting (part 2)

Copyright 2008 Scott W. Smith

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