Filmmaking - Audio
High-Def Audio Arrives
by Angela Taylor
At the American Film Market, I experienced "AG3D," a new digital
post-production sound technology that alters the soundtrack by
modulating phase, to render greater apparent audio clarity.
Whatever it does, my ears like it. The process seems to add
depth and dimension to the soundtrack, in my opinion increasing
apparent clarity like you wouldn’t believe.
In the demonstration, I heard A-B soundtrack comparisons, with the
process switched on and off. The difference was remarkable. When
it was on, I could clearly hear water trickling, cicadas chirping,
many audio details I didn’t notice, without AG3D.
Unlike many other post-sound technologies, AG3D happens during
post, so it does not require any special playback equipment.
A film finished with AG3D can play anywhere, even one's living room.
The entire process takes about a week to complete, for the average
feature film. Visit here to find out more.
Filmmaking
Friday, November 10, 2006
Thursday, November 09, 2006
AFM - The Living Market
Filmmaking - Stress Relief
AFM - The Living Market
Well, it's been a week. Angela and I covering the AFM here,
and she asked, "Is it stressful for you, Sam?" I told her no.
Record-setting growth of the AFM this year indicates the
strength and vitality of the film and television industry. The
Market is alive, and it's thrilling to see it serving both
production and distribution.
There are frantic industry changes going on simultaneously,
and sometimes it is an overwhelming task, to just try to keep
track of it. It just goes on and on and on, with no signs of
stopping. It won't even slow down.
At times like these, I don't even try.
I have a special method for coping.
I walk down onto the Santa Monica pier, to the last restaurant
way at the end. The last restaurant before Japan. I order the
lox and scrambled eggs.
Maybe I'll have an orange juice, if it's fresh-squeezed.
Maybe, if the stress has been particularly high, I won't do
that. I'll just have a glass of water.
I eat slowly, enjoying every bite. I sip the water, and enjoy
how cool it is, until it is all gone. Then I pay the bill, and
walk back.
By the time I've returned to the Loews Santa Monica Beach
Hotel, the sense that the whole film business is rushing away
from me at the speed of light, and also rushing toward me at
dangerous velocity, has abated.
Then, it's afternoon, and things start to slow down naturally,
in preparation for evening. All right! Do whatever works for
you, that's my advice.
You want it slow, go to the pier. You want it happenin', and
flashing and rumbling, and your mental process teetering on
the brink of sensory overload, just dive back into the AFM.
Something for everybody.
Filmmaking
AFM - The Living Market
Well, it's been a week. Angela and I covering the AFM here,
and she asked, "Is it stressful for you, Sam?" I told her no.
Record-setting growth of the AFM this year indicates the
strength and vitality of the film and television industry. The
Market is alive, and it's thrilling to see it serving both
production and distribution.
There are frantic industry changes going on simultaneously,
and sometimes it is an overwhelming task, to just try to keep
track of it. It just goes on and on and on, with no signs of
stopping. It won't even slow down.
At times like these, I don't even try.
I have a special method for coping.
I walk down onto the Santa Monica pier, to the last restaurant
way at the end. The last restaurant before Japan. I order the
lox and scrambled eggs.
Maybe I'll have an orange juice, if it's fresh-squeezed.
Maybe, if the stress has been particularly high, I won't do
that. I'll just have a glass of water.
I eat slowly, enjoying every bite. I sip the water, and enjoy
how cool it is, until it is all gone. Then I pay the bill, and
walk back.
By the time I've returned to the Loews Santa Monica Beach
Hotel, the sense that the whole film business is rushing away
from me at the speed of light, and also rushing toward me at
dangerous velocity, has abated.
Then, it's afternoon, and things start to slow down naturally,
in preparation for evening. All right! Do whatever works for
you, that's my advice.
You want it slow, go to the pier. You want it happenin', and
flashing and rumbling, and your mental process teetering on
the brink of sensory overload, just dive back into the AFM.
Something for everybody.
Filmmaking
Wednesday, November 08, 2006
AFM - Need A River?
Filmmaking - Locations
Need a River?
by Angela Taylor
Here’s a cool location feature I discovered at AFM.
The West Virginia Film Office offers “River on Demand.”
Gauley River is managed by a flood-control dam and the
Army Corps of Engineers will open and close valves to
create just the river you need.
You can shoot different rivers in one manageable location.
Want rapids? Want a calm river? You can get both on Gauley.
Obviously, there's a heap of restrictions I can’t even begin
to address here. Contact the West Virginia Film Office.
Filmmaking
Need a River?
by Angela Taylor
Here’s a cool location feature I discovered at AFM.
The West Virginia Film Office offers “River on Demand.”
Gauley River is managed by a flood-control dam and the
Army Corps of Engineers will open and close valves to
create just the river you need.
You can shoot different rivers in one manageable location.
Want rapids? Want a calm river? You can get both on Gauley.
Obviously, there's a heap of restrictions I can’t even begin
to address here. Contact the West Virginia Film Office.
Filmmaking
Tuesday, November 07, 2006
AFM - Cavalcade Of Film
Filmmaking - Filmmakers Gather
AFM - Cavalcade Of Film
Not only is the 27th American Film Market, the world's largest
film market, AFM is also a great big fat film festival.
592 films will screen here this year. That's up almost 20% from
last year's 534 films. There will be 431 market premieres this
time, increased from 2005's 382. Those are both, by any accounting,
an all-time high for the AFM.
AFM has a strategic alliance with the American Film Institute's AFI FEST,
which is another film festival, and they're inter-related. That alliance
has 54 films represented at both the AFM and as Official Selections at
the AFI Festival. Put together, they represent the largest throng ever,
of films and television, and North American film and television industry professionals.
Why? Because your digital television has 1000 digital channels. That
means 24,000 hours of programming in a 24-hour day. This is the best
time to be a filmmaker in the history of the world. Get on it!
Filmmaking
AFM - Cavalcade Of Film
Not only is the 27th American Film Market, the world's largest
film market, AFM is also a great big fat film festival.
592 films will screen here this year. That's up almost 20% from
last year's 534 films. There will be 431 market premieres this
time, increased from 2005's 382. Those are both, by any accounting,
an all-time high for the AFM.
AFM has a strategic alliance with the American Film Institute's AFI FEST,
which is another film festival, and they're inter-related. That alliance
has 54 films represented at both the AFM and as Official Selections at
the AFI Festival. Put together, they represent the largest throng ever,
of films and television, and North American film and television industry professionals.
Why? Because your digital television has 1000 digital channels. That
means 24,000 hours of programming in a 24-hour day. This is the best
time to be a filmmaker in the history of the world. Get on it!
Filmmaking
Monday, November 06, 2006
AFM - More Than Ever
Filmmaking - AFM Stats
AFM - More Than Ever
Some stats about the 27th American Film Market. This one
is better than ever. There are 435 companies exhibiting here.
They come from 36 countries, to make film, television,
raise money, spend money, lend money.
There are banks and private investors, screenings and events,
incredibly well-heeled rollers, wealthy people with full backing
of outrageously huge lending institutions, and also single little
individual filmmakers, with only a DVD of a film, or just a credit
card, or maybe not even that. Maybe just an idea for a film,
or an idea for a credit card.
They're all here, and maybe that's enough. Maybe they'll meet
somebody with a deal for them. I hope so.
This AFM is not just better, it's more, bigger, faster than ever.
AFM's like Cannes, only not French, like MiFed, only not Italian.
There is film, and it is warm like those places, and sunny too,
only it's friendly old sunny Santa Monica, and they talk mostly
English here, and I know all the best places, so I'm happy here.
I'm surrounded and enveloped by film and television companies,
financial organizations and institutions, filmmakers and their
antics, all reported commented-upon and interwoven
with media, media, media.
Attendance here is projected at some 8,400 from those
65 countries. That's 5% more than last year. They don't
really announce final numbers until it's all over,
but that's close enough.
Gotta go, I'm diving back in.
Filmmaking
AFM - More Than Ever
Some stats about the 27th American Film Market. This one
is better than ever. There are 435 companies exhibiting here.
They come from 36 countries, to make film, television,
raise money, spend money, lend money.
There are banks and private investors, screenings and events,
incredibly well-heeled rollers, wealthy people with full backing
of outrageously huge lending institutions, and also single little
individual filmmakers, with only a DVD of a film, or just a credit
card, or maybe not even that. Maybe just an idea for a film,
or an idea for a credit card.
They're all here, and maybe that's enough. Maybe they'll meet
somebody with a deal for them. I hope so.
This AFM is not just better, it's more, bigger, faster than ever.
AFM's like Cannes, only not French, like MiFed, only not Italian.
There is film, and it is warm like those places, and sunny too,
only it's friendly old sunny Santa Monica, and they talk mostly
English here, and I know all the best places, so I'm happy here.
I'm surrounded and enveloped by film and television companies,
financial organizations and institutions, filmmakers and their
antics, all reported commented-upon and interwoven
with media, media, media.
Attendance here is projected at some 8,400 from those
65 countries. That's 5% more than last year. They don't
really announce final numbers until it's all over,
but that's close enough.
Gotta go, I'm diving back in.
Filmmaking
Sunday, November 05, 2006
AFM - Canada Production Incentives
Filmmaking - Canada
AFM - Canada Production Incentives
The Canadians have a prime spot in the Yoga Room, front
of the Loews Hotel, and are represented well at AFM 2006.
The Canadian Film Commission and Agencies coordinate the
Canada office, working through the Canadian Consulate
General in Los Angeles.
Since you asked, what are the gimmes one can expect
from our neighbor to the great white north?
In Canada, the government supports filmmaking,
by every means you can imagine, and some that
probably wouldn't ordinarily occur to you.
Here's what they tell their own people, those
who want to invest in the Canadian economy.
Here's what Variety says about Canada.
Filmmaking
AFM - Canada Production Incentives
The Canadians have a prime spot in the Yoga Room, front
of the Loews Hotel, and are represented well at AFM 2006.
The Canadian Film Commission and Agencies coordinate the
Canada office, working through the Canadian Consulate
General in Los Angeles.
Since you asked, what are the gimmes one can expect
from our neighbor to the great white north?
In Canada, the government supports filmmaking,
by every means you can imagine, and some that
probably wouldn't ordinarily occur to you.
Here's what they tell their own people, those
who want to invest in the Canadian economy.
Here's what Variety says about Canada.
Filmmaking
Saturday, November 04, 2006
AFM - Louisiana Lures Filmmakers
Filmmaking - Locations
AFM - Louisiana Lures Filmmakers
by Angela Taylor
Every state offers incentives of some kind to entice filmmakers to
visit and leave money, but Louisiana’s hospitality is second to none.
In addition to the state incentives, there are federal incentives, to
rebuild the Gulf area after Hurricane Katrina.
Anything that can be qualified as “infrastructure development” is
eligible for a 50% bonus depreciation, or low-interest bonds.
Infrastructure development includes creating jobs, and building or
repairing structures. If you partner with a Louisiana production
company, you can get small-business loans, as well.
The state of Louisiana offers a 25% investor tax credits on projects
and infrastructure development as well, a 15% credit on post facility
and soundstage expenses, and a payroll tax credit of 10% for
employment of Louisiana residents.
But wait! There’s more!
You can sell your tax credits!
What?
Yep! You can sell your tax credits to get more cash to
subsidize your production.
If you want to see the variety of locations you can shoot in
Louisiana, or to find out more about incentives, visit
Louisiana's Department of Economic Development,
or the Louisiana Capital Area Film Commission.
To find out what incentives are offered by other states, you can
contact individual film commissions, or Axium Entertainment
for its Guide to US Production Incentives.
Tomorrow, we’ll talk about Canada.
Filmmaking
AFM - Louisiana Lures Filmmakers
by Angela Taylor
Every state offers incentives of some kind to entice filmmakers to
visit and leave money, but Louisiana’s hospitality is second to none.
In addition to the state incentives, there are federal incentives, to
rebuild the Gulf area after Hurricane Katrina.
Anything that can be qualified as “infrastructure development” is
eligible for a 50% bonus depreciation, or low-interest bonds.
Infrastructure development includes creating jobs, and building or
repairing structures. If you partner with a Louisiana production
company, you can get small-business loans, as well.
The state of Louisiana offers a 25% investor tax credits on projects
and infrastructure development as well, a 15% credit on post facility
and soundstage expenses, and a payroll tax credit of 10% for
employment of Louisiana residents.
But wait! There’s more!
You can sell your tax credits!
What?
Yep! You can sell your tax credits to get more cash to
subsidize your production.
If you want to see the variety of locations you can shoot in
Louisiana, or to find out more about incentives, visit
Louisiana's Department of Economic Development,
or the Louisiana Capital Area Film Commission.
To find out what incentives are offered by other states, you can
contact individual film commissions, or Axium Entertainment
for its Guide to US Production Incentives.
Tomorrow, we’ll talk about Canada.
Filmmaking
Friday, November 03, 2006
AFM - Friend or Faux?
Filmmaking - Filmmakers Gather
AFM - Friend or Faux?
This is the 27th American Film Market, the world's largest
film baza'ar. Filmmakers and acquisition execs and financiers
and newbies and old hands and wannabees all rub elbows,
buzz their wings and beat out the rhythm of their
particularly cinematic courtship dance.
Ah, love, it's wonderful.
Some do the waggle-dance to show where the financing is,
others pet and flatter some local drone-in-disguise, to
get him to help them with heavy lifting on some project.
Others fawn over a minor celebrity who got a suite on his
Visa card, attempting a leapfrog over his actor pals, an
arrogation of position as producer or buyer or at least
some kind of owner of this phase of the old career.
Good luck to them! Leaping out of the water, hopping
back up the food chain, is almost always a good idea,
no matter how disappointing it may turn out.
I wish them well.
I'm seein' it, I'm hearin' it, and at this place in
my life, it's all funny to me. I can hardly keep a straight
face when the poor lady I saw arrive from hitchhiking here
emerges from the restroom bedecked as a middle-European
queen, glitter replacing her gym sweats.
Transformation's complete, too. She's got a distinctive
facial feature, or I'd never recognize her. It's not just
clothes, but total immersion. She's got the sneer, and the
"don't bother me, I'm somebody" vibe, and everything.
She speaks softly, and drops names so hard they bounce,
and people stop conversing in the bar, and strain to hear
what she says, just like the old stockbroker ad.
She's fine until this evening, when she'll get a room,
or wander around until dawn, or maybe sleep on the beach.
Please help her, God. You go, lady!
Filmmaking
AFM - Friend or Faux?
This is the 27th American Film Market, the world's largest
film baza'ar. Filmmakers and acquisition execs and financiers
and newbies and old hands and wannabees all rub elbows,
buzz their wings and beat out the rhythm of their
particularly cinematic courtship dance.
Ah, love, it's wonderful.
Some do the waggle-dance to show where the financing is,
others pet and flatter some local drone-in-disguise, to
get him to help them with heavy lifting on some project.
Others fawn over a minor celebrity who got a suite on his
Visa card, attempting a leapfrog over his actor pals, an
arrogation of position as producer or buyer or at least
some kind of owner of this phase of the old career.
Good luck to them! Leaping out of the water, hopping
back up the food chain, is almost always a good idea,
no matter how disappointing it may turn out.
I wish them well.
I'm seein' it, I'm hearin' it, and at this place in
my life, it's all funny to me. I can hardly keep a straight
face when the poor lady I saw arrive from hitchhiking here
emerges from the restroom bedecked as a middle-European
queen, glitter replacing her gym sweats.
Transformation's complete, too. She's got a distinctive
facial feature, or I'd never recognize her. It's not just
clothes, but total immersion. She's got the sneer, and the
"don't bother me, I'm somebody" vibe, and everything.
She speaks softly, and drops names so hard they bounce,
and people stop conversing in the bar, and strain to hear
what she says, just like the old stockbroker ad.
She's fine until this evening, when she'll get a room,
or wander around until dawn, or maybe sleep on the beach.
Please help her, God. You go, lady!
Filmmaking
Thursday, November 02, 2006
AFM - Match.com For Movies
Filmmaking - Marketing
InDPlay Online Film Marketplace
by Angela Taylor
InDPlay (Indy Play - get it?) refers to itself as an online
marketplace for film, TV and video rights.
Best thing about it? FREE to list your movie.
Also great - buyers can search by genre, rating, budget or
available rights.
Say a buyer wants a PG-13 action movie with available ancillary
rights in Asia, and you have just such product.
Bing! Your film comes up.
InDPlay also manages the whole distribution process, tracking
contracts (it lets you know exactly what changes have been made
on the latest revision, so no sneaking stuff in), payments, and
deliverables, in an easy-to-understand, passbook-looking format.
Here’s the downside: As it’s free to both buyers and sellers,
InDPlay pays the bills by taking a percentage of the final
contract fee. That means from you.
Just as in the rest of the independent film world, where the
content creator often doesn’t see a dime, that just means one
less slice to the indie pie.
You're not only in it for the money, are you?
Check out InDPlay.
Filmmaking
InDPlay Online Film Marketplace
by Angela Taylor
InDPlay (Indy Play - get it?) refers to itself as an online
marketplace for film, TV and video rights.
Best thing about it? FREE to list your movie.
Also great - buyers can search by genre, rating, budget or
available rights.
Say a buyer wants a PG-13 action movie with available ancillary
rights in Asia, and you have just such product.
Bing! Your film comes up.
InDPlay also manages the whole distribution process, tracking
contracts (it lets you know exactly what changes have been made
on the latest revision, so no sneaking stuff in), payments, and
deliverables, in an easy-to-understand, passbook-looking format.
Here’s the downside: As it’s free to both buyers and sellers,
InDPlay pays the bills by taking a percentage of the final
contract fee. That means from you.
Just as in the rest of the independent film world, where the
content creator often doesn’t see a dime, that just means one
less slice to the indie pie.
You're not only in it for the money, are you?
Check out InDPlay.
Filmmaking
Wednesday, November 01, 2006
American Film Market 2006!
Filmmaking - American Film Market
Be there or be square. If you're not attending, if only
to see what's up, or to say hello, you're not really playing
the game.
You need to be at the American Film Market, at
the Loews Hotel, in beautiful Santa Monica by the sea.
AFM is the biggest film market event in North America.
To play the 2006 filmmaking game, pony up the dough
for a ticket, and spend 8 days with other filmmakers, all
frantic to see their movie get financed, made and sold.
I'll be there.
Aloha, and ciao for naio.
Filmmaking
AFM!
Be there or be square. If you're not attending, if only
to see what's up, or to say hello, you're not really playing
the game.
You need to be at the American Film Market, at
the Loews Hotel, in beautiful Santa Monica by the sea.
AFM is the biggest film market event in North America.
To play the 2006 filmmaking game, pony up the dough
for a ticket, and spend 8 days with other filmmakers, all
frantic to see their movie get financed, made and sold.
I'll be there.
Aloha, and ciao for naio.
Filmmaking
Friday, October 13, 2006
Ultimate Cinematography Workshop
Filmmaking - Cinematography
CHALLENGE YOURSELF. TEST YOUR KNOWLEDGE.
FURTHER YOUR CAREER.
Here's the Real Deal. The Great Yellow Father
will teach YOU how to frame and compose and light and
MAKE A REAL MOVIE, on real film, just like uptown.
35mm
Complete immersion in every creative and technical aspect
of real, big-screen cinematography. HD is cute, but 35mm
still blows it away. This seminar sports comprehensive
content, one-on-one education. Cannot be better.
Attendance is limited, spots fill up quick, it happens
in early November. I can't be there (AFM conflict) but
some other, very-best film teachers and students will be.
If you're a filmmaker with industry experience but
want more hands-on interaction with 35mm film
cameras (woo!) apply today!
Orlando, FL November 6-10, 2006. Tuition $2,250
includes film, processing, crew, talent, locations,
lunches, craft service, telecine transfer, final DVD
and a $1000 voucher for Kodak motion picture film.
Read about it here.
Filmmaking
CHALLENGE YOURSELF. TEST YOUR KNOWLEDGE.
FURTHER YOUR CAREER.
Here's the Real Deal. The Great Yellow Father
will teach YOU how to frame and compose and light and
MAKE A REAL MOVIE, on real film, just like uptown.
35mm
Complete immersion in every creative and technical aspect
of real, big-screen cinematography. HD is cute, but 35mm
still blows it away. This seminar sports comprehensive
content, one-on-one education. Cannot be better.
Attendance is limited, spots fill up quick, it happens
in early November. I can't be there (AFM conflict) but
some other, very-best film teachers and students will be.
If you're a filmmaker with industry experience but
want more hands-on interaction with 35mm film
cameras (woo!) apply today!
Orlando, FL November 6-10, 2006. Tuition $2,250
includes film, processing, crew, talent, locations,
lunches, craft service, telecine transfer, final DVD
and a $1000 voucher for Kodak motion picture film.
Read about it here.
Filmmaking
Thursday, October 05, 2006
Fellini Interviewed
Filmmaking - Fellini
I met him at the Academy Awards in 1993, and told him I was making a parody of his movies, and he laughed and said,
"So am I."
I asked him for permission, essentially to make fun of him and his work, and he said, "Why not?"
His lovely, funny little wife, Giulietta Masina, was very sweet to me.
That night, Fellini would admonish her, in his speech from the dais, as he received a Special Oscar, "Giulietta, stop crying!"
A difficult request. I had a tear or two, as I remember.
They were so cute together.
Fellini could evoke strong emotion. That was his gift.
"I never thought I'd be a director; I lacked the temperament, the voice, the authority, the arrogance.... I thought that I would be a writer or a painter, or, better, a 'special correspondent.' But it turns out that I had all those defects! Because I became a director ... for a kind of pleasure. Out of an entomologist's curiosity. My films are films of expression."
-- Federico Fellini,
interviewed by Toni Maraini, translated by A. K. Bierman, 1994
Express he did, like a deep dream. What a gifted man, an incredible talent. Why didn't he move to Hollywood, and work here? There were offers, of course. He says the deciding factor was quality of life, and who can argue?
"I simply cannot imagine leading my army into my creative battles in any other way than my own. What good is money in exchange for giving up my independence, my friends, my Roman restaurants, my crazy Italian people, traffic at rush hour by the Colosseum? I would have made money and lost my joy of life. And that's all filming has been about for me: joy of life, battle of life, comedy of life, fascination of life. Life! Life! Life!"
-- Federico Fellini,
interviewed by Lisalotte Mullauer, 1993
When Fellini died later that year, I set my parody aside,
authorized or not. Perhaps I'll pick it up again.
Sam Longoria
UPDATE 2 March 2018
It's time. And almost past! I'm going through footage. I'm sorting.
I'm putting this one out there. Look for it in some months.
Click here to FOLLOW FOLINO!
FilmmakingGuido Folino
Sam Longoria
Federico Fellini
Friday, September 29, 2006
Party at Sundance!
Filmmaking - Utah Commercial Contest
Utah is beautiful. I spoke there last May,
(Media Guest of Honor at ConDuit 16), safari afterward
with some wonderful Utahan friends. Thank you all, I am grateful.
Here's an interview I did there with lovely Autumn Thatcher,
for Utah Educational TV, and their wonderful "Sci-fi Friday" show.
And undoubtedly the very best 2006 music video composed
entirely of Utah place names, set to a Beach Boys tune. Cool!
Utah is no stranger to movies, of course. Tom Mix started it all,
and Hollywood filmmakers have been shooting there since 1922.
John Ford shot several of the very best westerns ever in Utah.
Now, the Utah Film Commission wants entries for the fourth
annual commercial contest, to promote Utah as a filmmaking
location, and showcase local filmmakers.
Up to four 30-second commercials or television spots may be
submitted through 30 Nov 2006, and the
winners will be announced 15 December 2006.
Winning entries will air during the 2007 Sundance Film Festival
on Park City tv's "In the Can" show.
Utah Film Commission awards $1,500 per winner, and also
awards passes to the Sundance film festival, including tickets
to parties and receptions.
What are you waiting for? Application information is
online at www.film.utah.gov
Filmmaking
Utah is beautiful. I spoke there last May,
(Media Guest of Honor at ConDuit 16), safari afterward
with some wonderful Utahan friends. Thank you all, I am grateful.
Here's an interview I did there with lovely Autumn Thatcher,
for Utah Educational TV, and their wonderful "Sci-fi Friday" show.
And undoubtedly the very best 2006 music video composed
entirely of Utah place names, set to a Beach Boys tune. Cool!
Utah is no stranger to movies, of course. Tom Mix started it all,
and Hollywood filmmakers have been shooting there since 1922.
John Ford shot several of the very best westerns ever in Utah.
Now, the Utah Film Commission wants entries for the fourth
annual commercial contest, to promote Utah as a filmmaking
location, and showcase local filmmakers.
Up to four 30-second commercials or television spots may be
submitted through 30 Nov 2006, and the
winners will be announced 15 December 2006.
Winning entries will air during the 2007 Sundance Film Festival
on Park City tv's "In the Can" show.
Utah Film Commission awards $1,500 per winner, and also
awards passes to the Sundance film festival, including tickets
to parties and receptions.
What are you waiting for? Application information is
online at www.film.utah.gov
Filmmaking
Wednesday, September 27, 2006
Lunatics Run Asylum: Low-budget
Filmmaking - Low-budget Studio Process
Of course, psychotic behavior isn't only limited in
Hollywood to those who can afford it. If you're
cobbling together a tiny, dinky little low-budget film,
and you haven't two nickels to rub together for either
budget or salary, you've probably still seen your share
of Hollyweird wackyville. Just like a big show.
Sometimes worse.
All the trappings of the big-budget mindwarp:
Insane tyrants, egotistical little actors. Love
triangles, marriage wrecktangles, suicide pacts.
Paranoia, delusion, controlled substances,
uncontrolled megalomania. Oh it's all there,
cash or no.
That is the odd part. You might think "all that money"
causes the insanity. That an outlandishly high salary
would reliably and eventually stimulate anyone into
a complete mental breakdown, but no. Seen it, seen it.
Money is definitely not required.
But I digress. Time now for crazymaking among the
impecunious. The second installment of our two-part
"Lunatics Run Asylum." Last time, we did big budget,
today it's little budget.
Many friends from back home wonder why I've worked
on such a variety of big- and little-budget movies,
many with names they just don't recognize, or didn't
end up in any movie fact book or database.
It doesn't matter what ImDb says, there are many such
"shadow" movies, ranging from little animated musical
productions to full superhero epics. Some were vanity
productions, made with private money. Some were only
made for tax reasons, or to satisfy a contract that
sounded good long ago.
One thing these features share: they will sit forever
on a shelf somewhere, because they cannot legally
be shown. They will never be seen.
One such project was undertaken by the Prince of Low-budget,
the legendary Roger Corman. Roger made this particular
picture, and it turned out surprisingly well. It was
made for Marvel comics, and Marvel locked it up, never
to be seen again.
Here's the interesting part. It's a property of which
you probably have heard, because they remade it recently,
into a big-budget movie.
Heard of it?
Three words - "The Fantastic Four."
Note to persons who love comics, and want to see
good movies made from comic books,
(I am one): don't read it.
Filmmaking
Of course, psychotic behavior isn't only limited in
Hollywood to those who can afford it. If you're
cobbling together a tiny, dinky little low-budget film,
and you haven't two nickels to rub together for either
budget or salary, you've probably still seen your share
of Hollyweird wackyville. Just like a big show.
Sometimes worse.
All the trappings of the big-budget mindwarp:
Insane tyrants, egotistical little actors. Love
triangles, marriage wrecktangles, suicide pacts.
Paranoia, delusion, controlled substances,
uncontrolled megalomania. Oh it's all there,
cash or no.
That is the odd part. You might think "all that money"
causes the insanity. That an outlandishly high salary
would reliably and eventually stimulate anyone into
a complete mental breakdown, but no. Seen it, seen it.
Money is definitely not required.
But I digress. Time now for crazymaking among the
impecunious. The second installment of our two-part
"Lunatics Run Asylum." Last time, we did big budget,
today it's little budget.
Many friends from back home wonder why I've worked
on such a variety of big- and little-budget movies,
many with names they just don't recognize, or didn't
end up in any movie fact book or database.
It doesn't matter what ImDb says, there are many such
"shadow" movies, ranging from little animated musical
productions to full superhero epics. Some were vanity
productions, made with private money. Some were only
made for tax reasons, or to satisfy a contract that
sounded good long ago.
One thing these features share: they will sit forever
on a shelf somewhere, because they cannot legally
be shown. They will never be seen.
One such project was undertaken by the Prince of Low-budget,
the legendary Roger Corman. Roger made this particular
picture, and it turned out surprisingly well. It was
made for Marvel comics, and Marvel locked it up, never
to be seen again.
Here's the interesting part. It's a property of which
you probably have heard, because they remade it recently,
into a big-budget movie.
Heard of it?
Three words - "The Fantastic Four."
Note to persons who love comics, and want to see
good movies made from comic books,
(I am one): don't read it.
Filmmaking
Monday, September 25, 2006
Lunatics Run Asylum: Big-budget
Filmmaking - Big-budget Studio Process
If you aren't in Hollywood, and you work all day at
a real job, you can't begin to fathom how a bunch
of insane hacks prance about, throwing tantrums
as they spend millions of dollars. For a living.
Wow, I'm dating myself. Amend that.
HUNDREDS of millions of dollars.
Cash.
Anyway, if you've ever wondered what such a
process is like, read these high points,
but bring a lunch. It will take most
of the afternoon, to bring you to
mid-1994. Read it anyway.
Note to persons with sense of decency,
or Superman fans (I am one): don't read it.
Filmmaking
If you aren't in Hollywood, and you work all day at
a real job, you can't begin to fathom how a bunch
of insane hacks prance about, throwing tantrums
as they spend millions of dollars. For a living.
Wow, I'm dating myself. Amend that.
HUNDREDS of millions of dollars.
Cash.
Anyway, if you've ever wondered what such a
process is like, read these high points,
but bring a lunch. It will take most
of the afternoon, to bring you to
mid-1994. Read it anyway.
Note to persons with sense of decency,
or Superman fans (I am one): don't read it.
Filmmaking
Sunday, September 24, 2006
In Praise Of Sven Nykvist
Filmmaking - There Was A Man Dept.
There should be a memorial, or a loud tremor in the Force,
or the sound of a great tree falling in the Swedish forest.
One of the cinematography giants has died.
Sven Nykvist, Ingmar Bergman's collaborator for
several decades, passed away a few days ago.
His use of light to evoke mood was unequalled, or rather
IS unequalled, as his work survives him, thank God.
Check out his films (1943-1999),
watch them, study them, and learn.
Filmmaking
There should be a memorial, or a loud tremor in the Force,
or the sound of a great tree falling in the Swedish forest.
One of the cinematography giants has died.
Sven Nykvist, Ingmar Bergman's collaborator for
several decades, passed away a few days ago.
His use of light to evoke mood was unequalled, or rather
IS unequalled, as his work survives him, thank God.
Check out his films (1943-1999),
watch them, study them, and learn.
Filmmaking
Wednesday, September 20, 2006
24p-ness Envy
Filmmaking - Cameras
Sony has announced its latest 24P camera, shooting
in - of all formats - HDV. Big pix, little tape.
It's the latest and the greatest. It's compact,
with XLR pro audio connectors and everything.
Want one? Bit of techno-lust?
Read all about it.
Filmmaking
Sony has announced its latest 24P camera, shooting
in - of all formats - HDV. Big pix, little tape.
It's the latest and the greatest. It's compact,
with XLR pro audio connectors and everything.
Want one? Bit of techno-lust?
Read all about it.
Filmmaking
Monday, September 04, 2006
Getting Our Terms Straight
Filmmaking - Definitions
I just spent a day with a guy teaching a new digital
video program. He uses a lot of "new" terms, which
to me are just the "old" terms, used incorrectly.
Somebody has to say something, and today it's me.
Here's a list of filmmaking terms, and their
proper definitions. Learn 'em.
Thank you.
Filmmaking
I just spent a day with a guy teaching a new digital
video program. He uses a lot of "new" terms, which
to me are just the "old" terms, used incorrectly.
Somebody has to say something, and today it's me.
Here's a list of filmmaking terms, and their
proper definitions. Learn 'em.
Thank you.
Filmmaking
Thursday, August 31, 2006
History of Little Movies
Filmmaking - Sub-35mm Formats
Okay, okay. I get it. You can't afford 35mm.
You say so, and I believe you. More importantly,
the Universe does too. (It's your choice, either way.)
Here's a history of small-format film,
so you can impress girls you meet at the
thrift store, when you buy old film cameras.
They'll just love you, until they realize you
weren't kidding - you really can't afford 35mm.
Filmmaking
Okay, okay. I get it. You can't afford 35mm.
You say so, and I believe you. More importantly,
the Universe does too. (It's your choice, either way.)
Here's a history of small-format film,
so you can impress girls you meet at the
thrift store, when you buy old film cameras.
They'll just love you, until they realize you
weren't kidding - you really can't afford 35mm.
Filmmaking
Wednesday, August 16, 2006
Award Yourself
Filmmaking - Film Festival
Have an under-$20M indy feature?
70+ minutes, shown in a theatre?
Want an award for your mantelpiece?
Submit your film* to the
2007 Independent Spirit Awards,
celebrating the spirit of
independant film.
* It's gotta be good.
Filmmaking
Have an under-$20M indy feature?
70+ minutes, shown in a theatre?
Want an award for your mantelpiece?
Submit your film* to the
2007 Independent Spirit Awards,
celebrating the spirit of
independant film.
* It's gotta be good.
Filmmaking
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