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Went to Fright Night Film Fest last weekend in Louisville. It was great to reconnect with my friends in the KY film community, and meet some new ones.
They had many films playing that I had to duck out of. Just no time to sit through a full movie for one reason (got to talk to my friends about their projects), the other was that the majority were unwatchable.
Someone asked what movies I would be watching. I told him, “Directors don’t watch movies, we criticize them.” I know that sounds arrogant, but it’s also a curse. After making a movie, it’s almost impossible to enjoy another without picking it apart. And then there are some that aren’t worth the effort. If the filmmaker doesn’t care enough about his craft to learn some basics about story, lighting, or sound, I feel no reason to spend my time on it.
I am not being mean, I am trying to help. I sat down with a very earnest director after one screening and gave him a few pointers because he has some real potential. He’s got a good thing going and he knows he has some challenges to surmount.
So if you are planning to make a film, and want some free advice, here are some basic points to keep in mind:
Lighting
Most lacked sufficient lighting for proper registration, flat, featureless lighting, or shot actors in front of bright outside windows.
Just because your camera can capture an image in low light, doesn’t give you the excuse to ignore proper lighting. It just comes out looking muddy, or blown out.
If you cannot afford a full light kit, the basic item is a China Ball
, which will set you back a whopping $5. It’s a 200 watt light in a paper lantern. What it provides is a nice soft light that can wrap around your actors faces. Should not be your sole lighting source, but many of the productions I saw could benefit from this addition.
, which will set you back a whopping $5. It’s a 200 watt light in a paper lantern. What it provides is a nice soft light that can wrap around your actors faces. Should not be your sole lighting source, but many of the productions I saw could benefit from this addition.Move your talent out from in front of windows on a sunny day, unless you front light them to match, or want it to look like shit.
Sound
Get an off camera mike. Pay attention to any noise in the area. Compressors, dryers, AC, anything. If that’s out of your control to turn them off, then do ADR. Cranking up some music to try to hide it will just trample over your dialog. ADR is a fact of life even on big-budget films.
Foley is your friend.
Story
Too much to go into detail about, but damn, there were so many crappy stories out there. Retreads of retreads. I saw maybe two novel ideas, only to be disappointed because it took 20 minutes to get to what should have been the 5 minute mark.
You have to wonder if the films even had a script, because they sure as hell haven’t read any books on scriptwriting. A good one is How to write a movie in 21 Days
Viki King. At a bare minimum, you need to read SAVE THE CAT
by the late Blake Synder. If you follow his guidelines, you’ll at least have some structure to the piece. I am not advocating a slavish devotion, but at least have a good reason to deviate from it, besides ignorance.
Viki King. At a bare minimum, you need to read SAVE THE CAT by the late Blake Synder. If you follow his guidelines, you’ll at least have some structure to the piece. I am not advocating a slavish devotion, but at least have a good reason to deviate from it, besides ignorance.And one last thing – cut the crap! What I mean by that is we do not go to movies to see the mundane minutiae that makes up our daily lives. We do not need to see people walking, talking, driving, or sitting, unless there is something else connected to it that advances the story.
The only time watching someone just drive was hip was in 1984 when MIAMI VICE
overlaid footage of Don Johnson driving around Miami in a Ferrari with Phil Collins’ In The Air Tonight
. So that’s it. We are so done with that. You don’t need to show your character driving from one location to another, unless they are getting serviced while driving or something INTERESTING.
overlaid footage of Don Johnson driving around Miami in a Ferrari with Phil Collins’ In The Air Tonight. So that’s it. We are so done with that. You don’t need to show your character driving from one location to another, unless they are getting serviced while driving or something INTERESTING.Screenplay Competition
I mention this because many scenes in ROAD KILL
have people driving. But I have those only to reinforce the overall theme, and move the story along. They are not on grocery runs; they hit potholes, wreck, get blown up, receive blowjobs, etc. These car scenes move the story forward.
have people driving. But I have those only to reinforce the overall theme, and move the story along. They are not on grocery runs; they hit potholes, wreck, get blown up, receive blowjobs, etc. These car scenes move the story forward.I am entering the ROAD KILL screenplay into the 2010 Expo Screenplay Competition. I have high hopes for this. I reached 3rd in last year’s online short competition, so I hope to pit my script against the heavy-hitters in this year’s completion.
screenplay into the 2010 Expo Screenplay Competition. I have high hopes for this. I reached 3rd in last year’s online short competition, so I hope to pit my script against the heavy-hitters in this year’s completion.Wish me luck!
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