» Posts Tagged ‘features’
After months of busting your hump making pitch videos, coming up with rewards, and tweeting like there was no tomorrow, (hopefully) you’ve found yourself celebrating a fully funded crowdfunding campaign. However, before you start reveling in your success, you might want to figure out just how much of those funds will make it into your production’s budget not only after you pay your platform’s fees, but after you pay the taxman as well. Yes, taxes can take a pretty substantial bite out of your funds, but here are a few ideas on how to run your Kickstarter campaign to make the bite less severe come Tax Day next year.
Ever since the Lumiere brothers projected their first film to the public — a train arriving at a station — cinema burst into the world as the newest and most populist art, beating out books, theater, and radio. Today, where is the popular future of movies headed if films become increasingly relegated to a small, elite group of people who get to make and watch them? Jose Carlos Zavarse Pinto and Irene Garibay are setting out to bring movies to a small village in Venezuela. And no, it’s not to show them the latest comic-book-smurfs-street-racing blockbusters, but rather, to have them create their own cinema. Below, Jose talks to No Film School about his project, and how filmmaking can be used to preserve or promote culture across the world. More »
John Cassavetes once said, “Anyone who can make a film, I already love.” The decision to make any movie is a leap of faith, and more so when you’re a trained physicist who emigrated from the former Soviet Union and gives up a steady paycheck on Wall Street to follow your artistic, cinematic dreams. Such is the case with unlikely filmmaker Gleb Osatinski, whose new short is gaining him a lot of attention for its otherworldly appeal. We talk to him about life and film in the former USSR, the beauty of the open-ending, and risking everything for a dream. More »
Shooting a film on Super 16 is about as rare these days as, I don’t know, spotting a unicorn. So when Fuji shipped out some of the last of their stocks for production of her first film, Leah Meyerhoff didn’t know it would be one of the last features shot on Super 16. Just after the SXSW Film Festival premiere of I Believe in Unicorns, Meyerhoff sat down along with her two lead actors, Natalia Dyer and Peter Vack, to talk to No Film School about anything from intentionally fogging film green, to the surprising freedom that using a restrictive medium like 16mm can offer. Check out the full interview, as well as a behind-the-scenes clip, below. More »
Sure, we’re all a bunch of gear junkies, but in some ways we know, a camera is a camera is a camera. It’s just as important for every production to have a good (or at least decent) concept, and therefore, a good reason to use one camera over the other! From scrapping a 3D production to saving up for six years to buy a RED EPIC, the excerpts below from a handful of different, but very talented, SXSW filmmakers are centered around one question: what did you shoot on and why? More »
I have a confession to make. I am not, nor am ever likely to be a dog lover. OK, I know most of you are about to click away in disgust but stick with me for just a moment. My dislike of man’s best friend may be lifelong, but it stood not one wag of a tail’s chance of surviving the gut punch of feelings I experienced watching the deeply emotional bond captured in Jonna McIver’s kindred spirits documentary A Boy and His Dog. The film depicts the transformative relationship between a rescue dog called Haatchi and Owen Howkins, a boy suffering from the rare genetic disorder Schwartz Jampel Syndrome.
See just how far a little bit of three-legged love can go after the jump: More »
Teenage is not your grandma’s movie. Ok, well technically it is, but during the time when your grandma snuck out of the house, lived fast, and might have been part of a secret teenage society that innovated on the cultural norms of the day. Taking a ninety-degree turn from the Ken Burns-ian tradition of history as black and white pans with slow banjo music, this film is a visually poetic, punk-lensed rumination on what it means to be a teenager. Below, check out director Matt Wolf’s before-and-after footage, a short excerpt, and read about anything from finding techniques in old American Cinematographer to coming up with a transformative soundtrack by Deerhunter/Atlas Sound musician Bradford Cox. More »
[This is a guest post by Mark Tapio Kines] More »
If you’re looking to tell people about your film and get some buzz going, social media is probably your best bet, seeing how Twitter, Facebook, Instagram, and so many other platforms have helped filmmakers not only find their film’s audience, but get their films made. Filmmaker Robert Mockler shares how he used social media to do just that for his film Like Me, which is currently in the running for Indiewire’s Project of the Year.
This is a guest post by Robert Mockler. More »
Preparing yourself for any film festival can be a stressful situation, and for those of you getting ready to go to the Cannes Short Film Corner, the clock is ticking! If you’re finding yourself lost trying to figure out how to start preparing for your stay, filmmaker Lit Kilpatrick is here to share a few lessons he learned from his trip last year. This is Part 2 of his 3-part series on how to survive the Cannes Short Film Corner.
The Cannes International Film Festival is one of the most prestigious film festivals in the world, but premiering, screening, and awarding the best feature films isn’t all that Cannes has to offer. Cannes Short Film Corner is an event that allows the creators of short films an opportunity to show their projects to a massive audience, pitch future projects, and hopefully make many important connections as well. However, the festivities can seem quite overwhelming, but Brooklyn-based filmmaker Lit Kilpatrick is here to walk you through Cannes and fill you in on how to make the most out of your visit. Lit describes all of the basics for those who aren’t familiar with the short film corner in part 1 of our 3-part series.
Having a two-camera set-up can have many great benefits. It can cut down on your production time/cost, streamline your work and make it more efficient, as well as provide much-needed continuity to the final product, which will ultimately raise your film’s production value. If you’re working with a skeleton crew, a multi-camera rig might be a good solution to having to hire more people, but be forewarned — there can be pitfalls to that set-up (e.g. Tommy Wiseau’s multi-camera/multi-format frankenrig that he used in The Room). Filmmaker Rubidium Wu puts this set-up to the test, mounting a Blackmagic Cinema Camera and a Canon 5D Mark III to a MōVI 10 gimbal stabilizer to see if he can cut down on costs, time, and even permit applications!
Last month, Conan O’Brien dedicated an episode of his show to the return of The Walking Dead. In honor of the widely loved AMC zombie drama, Team Coco put together a comedic Walking Dead-based opening sketch, featuring a decomposing, flesh-eating rendition of Conan. As a cinematography geek, I was blown away by how the production team managed to both emulate and parody the cinematographic style of The Walking Dead. Luckily for you, No Film Schoolers, I had the pleasure of interviewing Dylan Sanford, the talented DP who lensed this cold open. Stick around to hear Dylan explain exactly how it was done, from pre-production all the way through post. More »
Despite the name of our website, there are many things to be learned in film school, and director Addison Mehr chose an especially interesting project for his NYU thesis film. Fort Apache is the story of small town escape, adapted from a popular short story by Alan Heathcock. Click through to watch the film and get Addison’s perspective on film school, reaching out to an established author, casting and finding stories that resonate. More »
What is a city without its own music scene? Well personally speaking, it’s a place I want to escape from in favour of somewhere less lacking in the essential pulse that provides a locale with its underlying vibrancy. In his ongoing documentary series New Music Cities, created in collaboration with Dazed and AllSaints, director Jamie Jessett takes a counter-cultural look at some of the world’s global music centres. No Film School caught up with Jamie to find out how he’s been tapping into and capturing the diverse musical underground and how he managed to create an engaging documentary about an anonymous drug dealer for UK TV screens. More »
Have you ever considered making a film in a country that’s not your own? How about writing and directing a script in a language you don’t speak? In the interview below, Andrew Mudge talks to No Film School about doing just that in the awarding winning film The Forgotten Kingdom and touches on anything from why he gave up on DIY dollies to the inherent love/hate relationship a director has with a film. More »
If my research of Kickstarter campaigns for film and video taught me anything, I learned the final days of most successful campaigns are wild rides. The Kickstarter for my upcoming feature film CENTS was no exception. Near the end of our Kickstarter, I shared lessons learned from the 15 story beats of our campaign, but since our campaign wasn’t finished, the 15th story beat had yet to be written. Now that our Kickstarter is done, allow me to take you behind the scenes of our final week to share more lessons learned from the exciting conclusion of our crowdfunding campaign. More »
It seems like every week a grant deadline flies by, and you find yourself looking forlornly at the expired application for free money, mumbling “coulda been a contender.” To give everyone more time to work on your films and scripts — and a little less time researching how to fund them — scroll through the list below to find relevant opportunities for your narrative films, documentaries, and screenplays with deadlines this Spring. More »
When over half of the documentaries premiering at Sundance have been backed by a handful of well-regarded granting agencies, you ought to take notice of who those grantmakers are, and start putting together your application for next year — NOW. Below is a breakdown of who supported which films, and how to tell if these agencies might support your work in the future. More »
Lighting on location is almost always a challenge for one reason or another. Sometimes it’s difficult or impossible to rig lights in the places you really need them. Other times, power management and distribution prove to be problematic. More often than not, however, the most irritating part of lighting on location is that there just isn’t enough space to light with traditional studio methods, which forces you to improvise. I ran into such a situation recently when shooting a screen test for an up-and-coming Denver actress named Emma Moody. With 15 square feet of space, two high-powered LED’s, a little bit of natural light, and a MacGuyver-esque mindset, we managed to get it done. Here’s how. More »