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 ANYONE CAN BE A DIRECTOR TODAY
Consumer technology and you!
Yes this is true. You cannot only be your own director, but producer and yes, even distributor when you use the internet to get your project out there. You do not need o shoot on film, but work digitally and even working digitally you don’t need the expensive “Red” Camera or the soon to be released inexpensive “Scarlet” Camera. You don’t need all the lighting and grip equipment or the large film crews; dogma filmmaking has proved that! You just need a good camera and there are many consumer style cameras out there that will give you what you need. You don’t need to go to tape; mini dv or otherwise cause just like the Red and the Scarlet many of the latest consumer style cameras have built in hard drives and let you download into a computer directly into an editing system like Final Cut Pro or Premiere. You no longer need to transfer from a tape into the computerized digital realm. You can literally pack your entire system in a briefcase and travel anywhere to make your movie.more
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The Film Director Prepares |
This is the first interactive book on directing.
Read the review as published in the DGA Quarterly.
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 OUTRAGEOUS CENSORING
In the United States there is no censoring…or is there?
A number of companies have without authorization from either studios or filmmakers, been editing, selling and renting alternate versions of motion pictures to the public. They use a software called Movie Mask (pre-programmed masks or filters) or other technologies to remove what they consider to be offensive language, violence, nudity and sexual content or to put clothes on actors. In fact they are going far beyond deleting a few words, as they are also inserting products into the film, or turning swords in light sabers. Further, once the edits are made to remove what these companies consider "objectionable" material it is possible for them to remove political opinions or other undesirable elements of the story.more
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 COLLABORATIVE
RELATIONSHIPS AND $$
Independent production is collaboration. Somewhere buried in the show of the business is the creativity that allows it to flourish. And that creativity is always found in the marriage of people. People who speak the same language and have the same sensitivity and respect for one another. And this collaboration is usually with the producer, director, cinematographer and editor.
The producer and director do most if their collaboration during the pre production process, while the director and the cinematographer do theirs during the production process and finally the director and the editor complete the working creative relationships. Although the producer is there each and every step of the way encouraging and nurturing the quarterback (the director) to carry the ball (the vision) to a certain point, the collaboration is key. We hear a lot about the producer and the director, and the director and the cinematographer but a different kind of magic takes place during the editing process and the editor must be in synch as well. Filmmaking is about collaboration!more
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| Listen to Myrl's interview on "Digital Prouction Buzz |
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The Indie Producer's Handbook,
Creative Producing From A to Z
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From script analysis to post production, here is the all-inclusive guide to producing for film and television.
See why Movie Maker Magazine has declared it:
"THE #1 BOOK IN THE UNITED STATES ON PRODUCING."
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“I recently finished producing my own independent film and found this book right at the beginning of my post-production period. “I wish I had found it earlier. It is full of no-nonsense advice and information that is practically bullet-proof, and I ended up agreeing with about all of it. Schreibman, who apparently has a long history of producing films for t.v. and theatrical market, has paid his dues, done his homework, and knows another "feel-good" you-can-do-it book isn't necessary. He tells you like it is, doesn't pull any punches, and helps you avoid the most common mistakes, both legally and aesthetically. Writing and directing are generally the more "arty" positions in film production - the Producer is supposed to keep the ship moving forward and avoiding any fatal mistakes. This book directs you in the right direction. My film was a "micro-budget" film, and this book may ultimately be more useful for "larger" independent features, including ones with SAG deals, distribution in place, and budgets closer to 7 figures. While all the advice here applies to everyone making a movie, it's the attitude Myrl conveys that I really appreciated and believed in, more than some of his nuts-and-bolts info. The contract samples at the end were also very helpful when I went out and began looking for more help finding money to finish my film (which I eventually did). Now I'm dreaming of using the rest of the info here for my next film! ” |
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