Christmas Gifts Filmmakers Want

Christmas Gifts Filmmakers Want

While we're on the subject, here's my book,

Sam Longoria's Digital Filmmaking Handbook.





Sam Longoria
Digital Filmmaking Handbook
Sam Longoria's Digital Filmmaking Handbook

Chef Luis Aguilar Represents USA at 2009 World Gourmet Summit in Tokyo

Chef Luis Aguilar Represents USA at 2009 World Gourmet Summit in Tokyo

Congratulations to Chef Luis Aguilar, The Dancing Gourmet, chosen by World Gourmet Summit, representing USA in Tokyo this fall.

What has this to do with Film Production? Chef Luis and I are Producing a movie together. Go Luis! http://chefluis.us

Chef Luis Aguilar, The Dancing Gourmet

film school

filmmaking

film financing

film production

passion for cinema

digital filmmaking handbook

© 2009 Sam Longoria, All Rights Reserved

Film Production - LA Location Shooting Lowest On Record

Film Production - LA Location Shooting Lowest On Record

According to the Associated Press story, the number of movie and tv film productions shooting in the City of Los Angeles, California is now at an all-time low.

This breaks the all-time low
that was established last December 2008.

This year, there are 3 productions scheduled to shoot in LA.
Last year, there were 165.
The year before, there were 430.

C'mon people! This is Hollywood CA USA. The Entertainment Capital of the world. It's sunny, we have all the talent, and there are girls in bikinis.

Who's our only real competition? Various Europeans, and a bunch of frostbitten Englishmen in some former colonies. Oh, and a billion Indians, and about as many Chinese. Never mind.

There are a lot of them, and they are really, really smart.
But we have nowhere else to go, and we are really, really cool.

Sunglasses on! Baggy shorts! Caps on backwards! Dude.

film school

filmmaking

film financing

film production

passion for cinema

digital filmmaking handbook

© 2009 Sam Longoria, All Rights Reserved

Filmmaking - Independent Film Palace

Filmmaking - Independent Film Palace

Sixty years is a long time for a business, and a movie house
that's lasted over half a century is out of the ordinary, these days.

Here's the story of a theatre that decided the run-of-the-studio
films weren't cutting it, and branched out into "art house" cinema.

What they discovered may surprise you. As a former theatre owner, all I can say is "Yep." Gotta love the movie biz.

film school

filmmaking

film financing

film production

passion for cinema

digital filmmaking handbook

© 2008 Sam Longoria, All Rights Reserved

100 Best Blogs for Film and Theater Students

Filmmaking - 100 Best Blogs for Film and Theater Students

It is with great pleasure and pride I mention the
Sam Longoria Filmmaking Blog is included in the
"100 Best Blogs for Film and Theater Students" (Directing)

I appreciate the honor, and will continue in the fine tradition
the list describes as "slightly bizarre." I will work unceasingly,
until this filmmaking blog is completely bizarre.

I thank you.

Sam Longoria


film school
filmmaking
film financing
film production
passion for cinema
digital filmmaking handbook


© 2008 Sam Longoria, All Rights Reserved

Vintage Movie Camera For Film Production?

Filmmaking - Vintage Movie Camera For Film Production?

Patents from 1926 adorn the side of a classic Mitchell studio camera, legally protecting the design of its internal gears and sprockets.

1926 was a long time ago, and that camera is an antique. Could it still be used, in today's modern film production?

Yes, and in fact, many are. No modern movie camera is more precise than those classic pin-registered film movements. They really knew how to build them in 1926, and the cameras still work, millions of feet of film later.

To get a particularly difficult shot, it's not uncommon for visual effects cameramen to dust off a trusty 35mm Mitchell GC, NC, or BNC film camera. To alter time, fast or slow, just add a stop-motion or high-speed motor.

Build the camera on its rig, set the focus, aperture, shutter, and tachometer. Now you can shoot a cartoon, stop- or slow-motion movie sequence. Just like movie cameramen have been doing for a century.

There is much recent talk about new digital movie cameras. Filmmakers line up at seminars and shows, just to see one. Nevertheless, digital cameras still only provide 6% of the footage for feature movies. 94% of movies still are on film.

Digital standards are still evolving, and reliability and ruggedness are still hit-or-miss for digital cameras. Film cameras are tested and reliable, at 10k of resolution, compared to digital's 2-4k.

Hollywood Manuals is a website that offers out-of-print and hard-to-find technical manuals for vintage movie cameras and projectors.

Arriflex, Bell & Howell Eyemo, Cameraflex / Cineflex, DeVry, Mitchell BNC, GC, HS, and S35R vintage movie cameras and projectors are among those represented.

film school
filmmaking
film financing
film production
digital filmmaking handbook


© 2008 Sam Longoria, All Rights Reserved

Film Production - Mini DV or HD Camcorder? Make your Independent Movie!

Film Production - Mini DV OR HD Camcorder? Make Your Independent Movie!

Filmmaker Anthony Watkins shot his two feature movies (2003's "Counseling Day," and 2008's "Mall Robbers") on Super 16mm film, but admits other people's movies might get done faster if they'd use readily-available digital movie gear, in Mini DV or HD camcorder formats .

Anthony has bought and/or built camera dollies and film equipment, to support and move his film cameras through their shots and sequences. So he appreciates the new digital formats can be lighter and less unwieldy for transport and use.

Anthony loves the look of film, and Super 16mm is cheaper and easier than industry-standard 35mm film, so that's what he shoots.

Once shot, Anthony's film is digitally scanned into computer files, which he edits on his Apple G5 workstation, with his Final Cut Pro HD editing software.

Anthony's veteran comments and information are included on his "Making Of" DVD, included in his new feature film "Mall Robbers."

You can learn film production and where to rent movie gear and film equipment, and how to make your own indie film.

Discover secrets of film financing, as you secure your own film funding for your independent movie.

"Mall Robbers" was shot in 35 nights, in a suburban mall in Washington State. A wild slapstick comedy, about three groups of witless robbers, who break into the same mall on the same night. Matching wits (or lack) with them is the alert, uniformed Mall Security Force.

Laugh your head off, and discover how Super 16mm or 35mm film, or Mini DV or HD camcorder digital formats, can help you make your own independent movie.

film school
filmmaking
film financing
film production
digital filmmaking handbook


© 2008 Sam Longoria, All Rights Reserved

Filmmaking - Glimpse of Werner Herzog

Filmmaking - Glimpse of Werner Herzog

I have always enjoyed the films of Werner Herzog,
but after this perverse interview, by
documentarian Errol Morris, I am not so sure.

Ghoulishness, mass murder, bizarre behavior, and worst of all, procrastination. Something for everyone. Filmmakers take note.

film school
filmmaking
film financing
film production
digital filmmaking handbook

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - Aftermath

Filmmaking - Sundance Journal

Seattle filmmaker Paul Fraser returns from Sundance 2008, to a media frenzy with Sam Longoria and BJ Shea, on Seattle's #1 Morning Radio show, KISW - FM's the BJ Shea Experience.



Tuesday, January 29, 2008

Paul Fraser and Sam Longoria are interviewed by BJ Shea at Seattle's KISW radio station.







Paul explains the finer points of his filmmaking,
and his film "The Battles of Tim Eyman."
















BJ comments on clips from the film, in which he appears and speaks.








Sam tells what it takes
to promote an indy feature film.





























Studio video, shot of Sam at the end, at 4:20. Quite vulgar up to that point, and perhaps during.


Here's Paul and Sam's interview itself.
NSFW!
It's a guy show,
#1 Seattle morning show.

Paul and Sam and BJ and the Crew had a great time,
and it was very good radio.

BJ Shea's "Steve the Producer's" blog explains all of science, including quantum string theory.
Video Blog of part of the show.  At very end, slow-mo Sam Longoria and his moustache.


Hope you enjoy it!

Paul Fraser
Sam Longoria

film school
filmmaking
film financing
film production
passion for cinema
digital filmmaking handbook

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - Homeward

Filmmaking - Sundance Journal

Our Sundance correspondent is Seattle filmmaker
Paul Fraser, who has just enough time in the numbing
Sundance cold, and mind-numbing Sundance blur, to
snap a few pics and pen some notes from the festival.


Wednesday, January 23, 2008

Hey Sam,

The Toxic Avenger roams the streets again! As you know,
TA's the mascot of Troma films, a distributor promoting
its own film festival. Of course, it's "Troma Dance."

Went to "Traces Of The Trade," a moving film I saw at
Holiday Village Cinema, all shot on video, chronicling
the tragedies of several families in the Katrina disaster
in Florida.

A first-hand personal account, it's directed by the
ironically-named Katrina Browne. She did a great job.

Afterwards, took a flight back around eleven,
and got back here in Seattle around Midnight.
Man, am I tired, but it was all very well worth it.

Today was especially good, I networked like
crazy and got my film out to a lot of people,
and met with all those I'd scheduled.

Came home to an invitation to guest on the
"BJ Shea Experience" radio show
on KISW, the Rock of Seattle!

Thanks Sam,

Paul Fraser


film school
filmmaking
film financing
film production
passion for cinema
digital filmmaking handbook

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - Snow Problem!

Filmmaking - Sundance Journal

Our Sundance correspondent is Seattle filmmaker
Paul Fraser, who has just enough time in the numbing
Sundance cold, and mind-numbing Sundance blur, to
snap a few pics and pen some notes from the festival.


Tuesday, January 22, 2008

Sam,

Today, woke up to at least a foot of snow in Salt Lake. Got in
my car and braved it, driving the icy roads up to Park City.
Hotel manager told me not to try, but I did it anyway!






















































Caught a little of the talk at the Filmmaker Lounge,
"The Producing Cap." Panel discussed obtaining financing
to get projects off the ground.

















So many of us crowded into the Lodge, some had to
watch it televised, in the room next door.
















Handed out promo materials for my film,
"The Battles Of Tim Eyman" to press and producers
along Main Street. Also entered my film into an Avid
pitch contest, at the New Frontier.

Paul Fraser


Filmmaking

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - The Play's The Thing

Filmmaking - Sundance Journal

Our Sundance correspondent, Seattle filmmaker
Paul Fraser, has just enough time in the numbing
Sundance cold, and mind-numbing Sundance blur, to
snap a few pics and pen some notes from the festival.


Monday, January 21, 2008

Hey Sam,

Supporters for a film called "Len Bias" throng Main Street,
handing out DVDs of their trailer, can't miss them. They've
been on Main Street every time I've been out, since I got
here on the 17th.

I've done my share of film promotion, too, as I shop
my film, "The Battles Of Tim Eyman." I give out DVDs
and posters, to press and distribution people.













Word up - lots of other filmmakers leave promotional
materials in the lobby - and Big Brother Sundance
throws them into the garbage, if they're not in the
festival. Can't blame them - this is business, after all.
















Next stop, the Sundance Filmmaker's Lodge, where
I listened to Martin McDonagh, a playwright-turned-
film-director, notorious for his dark comedy writing.
















I asked Martin if a film like "Bug," adapted from Tracy Letts's
play of the same name, would have an easier transition to
the screen, since it was a play to begin with? He disagreed,
saying, in his work, he prefers to keep a play a play,
and not try to "turn a dog into a cat."

Really crowded at this event. I had to wait in the
hallway, to get into this old rustic-looking building.

Later, over at the New Frontier, on Main Street...
















I sat in on an event called "Avid Presentation:
From Production to Post to Distribution."

Editor Kevin Trent ("Sideways," "The Golden Compass," "Blow")
discussed challenges faced by today's digital Editors, and their
computer systems, such as Avid.

Kevin described how the editing process has been streamlined,
from thirty-odd people working on the editing (on the film "Reds"),
to a single Editor and two Assistants, a total of three.














After I took this picture at the Eccles Theatre,
it started snowing like mad, and I caught the
midnight show of "Just Another Love Story"
at the Holiday Village Cinema.

Another dark love story actually, along the lines of
"Strangers," and Michael Keaton's "The Merry Gentleman."

So dark, the Danish Director (Ole Bornedal) warned us
in advance. It was really an involving and original film.

Three-quarters through, the young woman sitting next to me
lost her nerve, and left, because of its energy and realism.

Who knew the Danes were so dark and moody?
Oh, wait, there's Hamlet.

Made it back to my room, through the snow,
in one piece, without driving off the road.

Talk soon!

Paul


Filmmaking

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - It's a riot!

Filmmaking - Sundance Journal

Our Sundance correspondent is Seattle filmmaker
Paul Fraser, who has just enough time in the numbing
Sundance cold, and mind-numbing Sundance blur, to
snap a few pics and pen some notes from the festival.


Sunday, January 20, 2008

Hey Sam,

Today at Sundance, more people than ever crowding
the frozen downtown streets of Park City. Sidewalks
literally so overpopulated you must walk in the street!

People communicate and schedule by bulletin boards
and flyers, and notices, and pictures. Like a riot,
a war, or a natural disaster, I can't decide which.




















More interviews, it's all chaos. I was interviewed by
tv news, and discovered the HP Broadcast Studio,
where I spoke a bit more about my filmmaking,
and my film, "The Battles Of Tim Eyman."

















Up the street, at the Sundance Filmmakers Lodge, a
wine-tasting event called "Wine Escape." Industry
Producers, Actors, and Directors mingled there.

Later, at the Egyptian Theater, I viewed a great Israeli
film called "Strangers." The Director, Erez Tadmor, was
there, and spoke of the film's production. Very moving
and gritty romance, shot on HDV and converted to 35mm.

Story was completely improvised, and written, by the Actors.
The war that tore the protagonists apart was a real
situation, and framed the story. Shot in under a month,
for under $100K.

That film is the second I've watched here originated on
HDV, then upconverted to 35mm. New trend? I wonder.

Tomorrow will be a busy one, I can feel the buzz of
filmmaking rising in pitch. Gotta go. Talk soon!

Paul


Filmmaking

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - Park City - NOT!

Filmmaking - Sundance Journal

Our Sundance correspondent is Seattle filmmaker
Paul Fraser, who has just enough time in the numbing
Sundance cold, and mind-numbing Sundance blur, to
snap a few pics and pen some notes from the festival.


Saturday, January 19, 2008

Sam,

Thousands pack the streets of Park City, Utah, for
the Sundance Film Festival. One of them this year is me,
and I'm happy to be here. It's every independent filmmaker's
dream come true.

I don't know what will happen, but nobody does. There are
lots of great movies, and crazy colorful characters. It's
really the filmmaking business in a teaspoon.

Just meeting people here is a positive step. I'm astonished
how few people have business cards. They just meet and
bounce away, only colliding occasionally in the chaos.

My strategy? I'm finding out where people go, and going there.
Hardest part is parking my car. I drive from Salt Lake City,
and park miles away and ride the shuttle bus.

I expected lots of parking for my car because
of the name, Park City, but no.














What I wasn't expecting - I've been interviewed a couple
of times today, about my filmmaking, and my film,
"The Battles of Tim Eyman."

It's a documentary about a Mukilteo, WA
watch-salesman / citizen-activist, and his battles
to get his tax-cutting agenda onto Washington state
ballots, using the initiative process.

It has Tim Eyman, and Washington State Senator
Ken Jacobsen, and radio talk-show hosts Michael Medved,
B.J. Shea, and Dori Munson. It was a fun film to make.

















I'm surprised I was interviewed. I didn't expect much
interest in Washington state politics. Nobody's ever
heard of any of the people in my film, but they pointed
video cameras at me, so I told them about it.

Documentaries are very big right now, and I hope to
see what others are doing with their filmmaking.
Gotta go, it's freezing, and lots to see.
Write more tomorrow.

Paul

Filmmaking

© 2008 Sam Longoria, All Rights Reserved

Sundance Film Festival 2008 - It's cold outside!

Filmmaking - Sundance Journal

Our Sundance correspondent is Seattle filmmaker
Paul Fraser, who's shopping his documentary film,
"The Battles of Tim Eyman,"
about a Washington state citizen activist.

Paul has just enough time in the numbing Sundance
cold, and mind-numbing Sundance blur, to snap a
few pics and pen some notes from the festival.


Friday, January 18, 2008

Sam,

Very chilly down here at Sundance. Main Street is crowded
with Producers and Press, at the various filmmaking events.

I attended the "Filmmaker Lodge" opening reception.
I met Joe Kleber from Red Acquistion Warehouse, and he
demonstrated his Red digital motion picture camera to me.

Also attended a seminar, at The New Frontier on Main Street,
"Creating A Low-Budget Film". They discussed production
workflow, and editing techniques. It gave me new insight.

Speakers were the Producer and Editor from the film
"Jack In The Box," who talked about productive collaboration.

The Editor, a USC professor, described filmmaking techniques
to keep the audience interested, and on the edge of their seats,
while telling the story.

I always get a lot from these seminars, and there
was also free food there, too! Can't lose.

9:30pm tonight, at the Eccles Theater, I attended the film
premiere of "The Merry Gentleman." The Director is
Michael Keaton, who recounted the making of this film.
It is his first feature as a Director.

Keaton seemed apprehensive about "Merry Gentleman's"
running time, but the film was warmly received by
the audience.

Pictures are on the way, took only a few on Main Street.
I'll shoot off a roll tomorrow, and I'll send some
along to you. Hope all is well with you!

Paul

Filmmaking

© 2008 Sam Longoria, All Rights Reserved

What Is A Pro? by Sam Longoria Producer-Director

Filmmaking - What Is A Pro?

 by: Sam Longoria

The word “Professional” is often bandied about by indy filmmakers, and I’ve heard and read many things I just wouldn’t expect a “Pro” to say, though the person writing or saying them claims to be one. Time for a definition of terms.

Question: What qualifies a person to be a Pro?

Answer: Paycheck.

That's the short answer, but anything longer is just embellishment. It's one thing to make movies. It's a whole different animal to get somebody to cut you a good check, for the work you've done.

Paycheck is more important than anything to a Professional, because you have to eat and pay bills, or you can't function, much less create pleasing Art.

Question: How does a person become a Pro?

Answer: By adopting a Pro attitude. The Pro attitude is “I work in the movie business. I do good work, and I must be paid for it.” This is regardless of the budget of his current Project, whether it is high or low.

Some don’t become a Pro until many paychecks, but you can have a Pro attitude right now, even if you’ve never been paid for doing your art. If you adopt the Pro attitude now, you multiply your effectiveness many times, and shorten the time until those paychecks come in.

A person with a Pro attitude has aligned his brain cells and unconscious mind, so every action and thought is geared toward one outcome - to be paid for his work, what his work is worth. This has many benefits, chiefly the quality of his work improves.

You can take years to get a Pro attitude, or you can do it right away. I recommend you read a book with a funny name by Stuart Lichtman, an expert on the human brain from MIT. 

Another great book on developing a Pro attitude is Napoleon Hill's classic "Think And Grow Rich," free in your library, or get it here online.

They are both good books. Stuart’s is like a series of games, so it’s almost effortless, and it will improve every aspect of your life. Napoleon's classic book takes a while, and you have to muscle it through by will power, but it’s great.

Once you've adjusted your attitude, your unconscious mind will steer your every action and memory, every skill you have, and those you need to learn, toward delivering what you need to do your job, and be paid your paycheck.

Once you do, your natural love of your Art has a chance of being fulfilled. Until you do, you're just floundering.

You may disagree with my brutal bottom-line assessment of what a Pro is. You may feel a Pro isn't defined by a paycheck. To you a Pro might be merely a person with a lot of experience in a certain area, or a person with a natural talent.

Well, “Professional” is defined,

"Pro*fes"sion*al, n. A person who prosecutes anything professionally, or for a livelihood, and not in the character of an amateur; a professional worker."

-- Webster's Revised Unabridged Dictionary, © 1996, 1998 MICRA, Inc.

Unless he has a paycheck, his "lot of experience" just makes him a hobbyist. By definition, a hobbyist is not a Professional anything. There is nothing wrong with being a hobbyist, or an “amateur,” (which means you do something “for the love of it”), but generally, amateur quality is not up to a Pro standard.

It’s common to say, "You have so much talent, you're a real Pro," but even natural talent, practiced and refined, won’t be Pro until one’s work quality is good enough to motivate another to pay him for it.

While skill and/or talent certainly are important, the defining quality of a Professional is payment.

Think “paycheck.” May you earn many big ones.

About The Author Sam Longoria is a Hollywood producer, working in film since 1970, in a variety of jobs. His work graces several Oscar-nominated films, and even Oscar winners. Sam teaches Independent Producing and Consults at http://samlongoria.com © 2005 Sam Longoria, All Rights Reserved. You may forward this in its entirety to anyone you wish. Hollywood Seminars, Box 2449, Hollywood CA 90078 USA This article is available for reprint in your ezine, website or ebook. You MUST agree not to make any changes to the article and this RESOURCE BOX MUST be included.