» Posts Tagged ‘features’
A few months ago, we shared an excellent short animation that detailed the ins and outs of what exactly an experienced editor does. Although we only briefly mentioned it at the time, that video was an advertisement for Inside the Edit, a soon-to-be-released online creative editing course. Yesterday marked the official release of Inside the Edit, and we here at No Film School couldn’t be more excited about the tremendous potential value that this course offers to aspiring editors wishing to break into the industry. I recently had the opportunity to chat with Paddy Bird, the founder of Inside the Edit, about what sets this course apart from any other editing course on the market today. More »
You’ve got a great idea for film, and it just so happens to be a true story. Best of all, the main character is fantastic and you can’t wait to get him or her on camera! But once you start rolling, and sit back and wait for the magic to happen — pfft. Your interview is a dud. What went wrong? Getting a person’s story on camera is an elusive process, and since I just spent over five years working on a short and a feature in which I conducted over 40 interviews, I thought I’d share a list of things that I picked up along the way that might help you. More »
There are short films, really good short films, which within hours of opening their online doors flit from inboxes, to tweets to posts to blogs racking up 100s of 1000s of views as they reach meme velocity, and while that’s a status any of us would be happy to achieve, there are those truly great shorts such as Carlos Lascano’s A Short Love Story In Stop Motion which are so popular they become instantly recognisable by anyone who’s even flirted with the idea of watching a short film. In what surly must be an unfair monopolization of the collective consciousness, Carlos looks set to once again have a film which will remain a topic of conversation for years to come with his latest short Lila. We interview Carlos about closing out his unofficial trilogy of viral hits and his move from animation back to live action filmmaking. More »
Now that Menthol was finally released online last week, let’s check in with the release status and watch the 3rd part of our interview series with the makers of the film. This post will complete my 6-part series on releasing the film with a $0 marketing budget. With direct distribution I’ve learned that what appears to be the end of a long road usually leads to be the beginning of a new one, but for this post I’ve selected some big takeaways and put them together in a Direct-Distribution Lesson Roundup. Read on. More »
There are many ways for filmmakers to use their skills to generate income. You can move to a major filmmaking hub like New York, Los Angles, or Atlanta and cut your teeth in the world of features and television. You can shoot commercials and web videos for local businesses. You can shoot and edit weddings. You can even use your own short films and features and generate income through various online distribution outlets. And last but not least, you can sell stock footage. The only problem with the latter option is that most stock footage houses these days aren’t built with filmmakers in mind. Today marks the launch of Story & Heart, a new story-driven stock footage licensing hub and filmmaking community that tackles many of the issues with modern footage licensing head on. The result is a stock footage service that is unlike any other to come before it. More »
Menthol is finally done playing film festivals and we’re in the clear to release online. It’s been a long road getting to this point, navigating various distribution strategies and seeing what we can implement with a $0 marketing spend. Menthol will finally enjoy its online release today, August 4th through Vimeo on Demand and Reelhouse. To whet your appetite for the film, here’s the next installment in the Behind the Story interview series and some words on what we’ve learned. More »
Finding the right producer (or any producer for that matter) for your film can often mean the difference between seeing it blossom or wither away into obscurity. A distinguished player herself, Producer and President of Gamechanger Films Mynette Louie has not only compiled and shared a list of over 100 independent producers that have track records of getting behind successful indie films, but also offers some excellent advice for those in need of guidance as they search for the right person to back their film.
Have you ever had that particular project come along that completely turned your career around — a break-out job after lots of hard work, that lead to more projects you loved working on? I FaceTimed recently with editor Carsten Kurpanek, who just edited his first wide-released feature Earth to Echo (in theaters now). Carsten was kind enough to provide some keen perspective from his own career thus far, some insights into the future of NLE technology, and even some recommendations and advice to those new to editing. More »
A short film can be just that: a short glimpse into a world of the filmmaker’s creation. But then there are those short films that come with a medium-spanning world for audiences to explore far longer than the last frame of the film. One such successful transmedia project is Nathan Punwar’s Loves of a Cyclops, where the viewer can enter a nonsensical world with enough supporting material (film strips, recordings, and photographs) to make you wonder if Cycloptics might just be possible. No Film School sat down with Punwar to talk about anything from the rewards of transmedia to how Pixar just might look into multidimensional cycloptic viewing. More »
Through film history, there are those films we qualify as good “party movies” (Sixteen Candles and Dazed and Confused come to mind). But on the low-budget end of the spectrum, scenes taking place at a party can sometimes be the surest way for a film to scream “amateur”. Is it the garish lighting that accompanies party scenes, or the awkward clusters of bored friends posing as background actors? Josiah Signor tackled the party genre with much success in Bastards of Young, and in this No Film School interview, he explains how he created his well acted, well paced, nuanced feature debut — a micro budget “party movie” that’s actually pretty damned good. More »
What’s the most important aspect of a film? Acting? Cinematography? Plot? To some, these are all crucial components that lead into the most important expression of a film: tone. However, setting the tone of a film is one of the most difficult things to do. Kat Candler’s Hellion, starring Aaron Paul, Juliette Lewis, and a handful of emerging young actors, is a film that’s all about tone — the 13-year-old, heavy metal, motocross kind. Read our interview with Kat Candler, where she talks about anything from the dance of shooting handheld on the ALEXA, starting Hellion as a short, and the current heyday of independent film in Texas. More »
Direct distribution platforms have made finding an audience for independent, no budget movies a real possibility. And though much of your effort might be focused on just getting your film online and monetized, there is a whole area of distribution that could provide potential profits that may be slipping past your attention: bonus content. VHX, a direct-to-fan distribution platform, has crunched the numbers on which content options are the most popular for the documentary STRIPPED – a project that has harnessed the power of bonus content to appeal to their fan base, and has put more money into the pockets of the film’s creators.
It’s easy to become despondent when approaching (or thinking about approaching) the uphill battle that is making a film. And although it is one of the most difficult things you’ll ever do, it can be done — regardless of how little experience, money, or equipment you have at your disposal. Filmmaker Joshua Caldwell made his feature film Layover for just $6000; he cast his friends, borrowed a Canon 5D, and now it’s competing for the New American Cinema award at SIFF, and he has decided to share what he has learned about maintaining high production value while keeping costs down.
This is a guest post by Joshua Caldwell. More »
Though it has been made much more doable thanks to crowdfunding platforms, securing funding and navigating the process to maximize your return can be tricky. DP Katie Maul and the team of filmmakers working on the indie doc Trichster, have run a total of 3 successful crowdfunding campaigns for the film, and Maul has shared some tips on how you could approach your next fundraising efforts.
This is a guest post by Katie Maul. More »
Our festival run is almost complete and we’re preparing for our imminent online launch. Direct distribution is a moving target, and we’re constantly shifting our release strategy and making adaptations we feel are necessary. Our latest adaptation is going to be making the film available on more than one platform when we release. For this post I’ve also put together the first of three videos from hours of interview footage on the cast & crew’s experience of making Menthol. Click through to keep following along and to watch the video. More »
Elliott Smith is one of the most prolific and authentic figures in the contemporary singer/songwriter era and is synonymous with intimate, honest folk music. His songs are cinematic in the sense that they are character studies, “little pictures made of words” that capture a certain person, time or place. Many documentaries have tried to have been made over the years, but Nickolas Rossi has succeeded in making the first feature-length Elliott documentary with permission to use his music. Read on for our interview with the director Nickolas Rossi on constructing a portrait of Elliott’s life and work. More »
We say it all the time. “My film is my baby.” It’s true — our films are our babies; conceived by our creativity, gestated in our imagination, and birthed through the months and years of our greatest filmmaking efforts. Though many of you may not be mothers or fathers of human children, you are, or at least hope to one day be, mothers of cinematic ones. So, let’s celebrate this most glorious of Mother’s Days by having some fun and recognize the maternal qualities that help filmmakers nurture their projects. More »
Being a director requires a certain persistent stubbornness to get a film made the way you want it. In the case of Ben Knight and Travis Rummel, this meant saving money for six years to buy the RED EPIC, having strict rules about shooting on tripods (even underwater), camouflaging oneself to film unnoticed at demolish sites, and editing every frame of the film in unadulterated 4K. The payoff? A breathtaking film that won the SXSW Audience Award and is opening on the big screen this weekend. In the No Film School interview below, find out how the filmmakers of DamNation made their cinematic doc, and where you can catch it in theaters. More »
The process of releasing and distributing my first film has been a challenge, and as we enter the last month or so of pre-release work I will be sharing more a long the way. In the previous two posts in this series I talked about cutting a trailer and shared philosophical ramblings after our world premiere. In this post, I’m gonna talk about our international premiere experience, putting on our own screenings and preparing for the next steps before release. Hit the jump to read more. More »
Have you ever thought of turning the camera around on yourself to tell a personal story? What about a personal story that involved outing yourself as an undocumented immigrant and exploring the relationship with your mother you haven’t seen in about 20 years? That’s what Pulitzer Prize winning author and filmmaker Jose Antonio Vargas did in his latest film, and it wasn’t easy. In the NFS interview below, Vargas talks about anything from writing first-person narration, to earning the right to be on camera, to achieving that delicate balance needed for a successful first-person story in his film Documented, which opens in theaters this weekend. More »