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Independent Film Interviews!

September 23rd, 2011 | Posted by jasonmckinnon in Editing | Featured Posts | Filmmaking | Interviews | Producing | Screenwriting - (0 Comments)

Independent Film Interviews | The Athletic Nerd | Independent Film Blog Promotion

PROMOTE, PROMOTE, PROMOTE

The Athletic Nerd is blog about movies, screenwriting & independent film. It’s also about the movies that inspire the aspiring filmmaker.  That’s why I made the decision in August 2010 to include interviews with other passionate artists on the site.  I’m definitely not a journalist but I’ve truly enjoyed meeting other filmmakers, hearing their stories and watching their films.

I called the series FILMMAKERS, FANS and here is how I described the feature initially:

“This series will focus on other independent filmmakers and their movies. From shorts to features, these posts will highlight the challenges of independent filmmaking covering everything from screenwriting to marketing the finished film.”

I feel I’ve accomplished that mission but I’m not done yet.  There are millions of independent films out there!  So I’ve decided to add a BIG statement to my blog today:

THE ATHLETIC NERD SUPPORTS INDIE FILMS!

Filmmakers, Fans is all about promoting YOUR movies.  The Athletic Nerd is a site with steady growth and an audience obsessed with film.  Not only that, I’m an aspiring filmmaker myself so I understand the challenges indie filmmakers face.

Above all else, I’m excited to continue providing readers with new interviews, previews and in depth looks behind the scenes of indie films.  Soon, I’ll be expanding this series even further but for now, it’s your turn!

If you would like to see your film featured on The Athletic Nerd, all it takes is an email to jason@17west.ca.

NOT JUST INTERVIEWS

I may not interview everyone who contacts me but if you’ve got a movie, a trailer, a funding campaign or an announcement you would like to promote there is an option for that too.

The Rundown is my weekly movie news recap published every weekend.  These articles include news, trailers, links and more from the film industry but it also includes short film spotlights and previews.  This feature is going to be evolving soon as well so stay tuned for more.

Click here to catch up on previous Rundowns.

THE INTERVIEWS

Ron Suppa Interview
Find out what it takes to write a screenwriting book from the author of Real Screenwriting.
Read it here.

Get Your Short Film Into Major Festivals
An exclusive look behind the scenes of TIFF’s selection process.
Magali Simard | TIFF Programmer
Read it here.

Scriptchat: A Screenwriting Community
The story of how #scriptchat began and thrived on twitter.
Jeanne Veillette Bowerman | Scriptchat Founder
Read it here.

Damn Your Eyes: Making The Most Of Your Film’s Budget
How to make a 5k movie look like a 20k movie.
David Guglielmo | Damn Your Eyes
Read it here.

Standing Out Amongst The Crowd: Pitching A Short Film
A look at how to create a Kickstarter or Indiegogo campaign to fund your movie.
Chris Nash | Daddy Warblocks
Read it here.

Junko’s Shamisen: From Vision To Reality
Producing a short film that incorporates animation, live action, CG and more.
Sol Friedman | Junko’s Shamisen
Read it here.

Tilt Interview Part 1: The Movie
A look at the inspiration behind a feature film.
Phil Holbrook | Tilt
Read it here.

Tilt Interview Part 2: The Screenplay
Collaborating through Twitter & Skype with screenwriters.
Phil Holbrook, Julie Keck & Jessica King | Tilt
Read it here.

Tilt Interview Part 3: Leveraging Twitter & Kickstarter
How using social media can help you reach your filmmaking goals.
Phil Holbrook | Tilt
Read it here.

Finding Your Muse: Creating A Short Film
A behind the scenes look from script to screen.
David Spies | A Musing
Read it here.

No Short Cuts: An Editor’s Tale
How a casual encounter in an editing room led to a professional career.
Andy Peterson | Editor of Survivorman, Rubber Side Down
Read it here.

Finding Your Voice: An Indie Filmmaker Profile
Evolving as a filmmaker and jumping from shorts to features.
Alfredo Salvatore Arcilesi | Indie Filmmaker
Read it here.

Write A Slasher Movie & Get It Made
The story of a passionate horror fan and screenwriter.
Matt Mosley | Sparrow
Read it here.

Short Film Preview: Lover’s Jump
Find out how this short film came together.
Marc McCombe | Lover’s Jump
Read it here.

Preview: Indie Horror Film Sparrow
The making of a slasher movie.
Thomas James Longley | Sparrow
Read it here.

Independent Film Interviews | The Athletic Nerd | Independent Film Blog Promotion

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Short Film Editing: Is This Scene Boring 2

September 8th, 2011 | Posted by jasonmckinnon in Editing | Featured Posts | Producing | Screenwriting - (3 Comments)

Short Film Editing: Is This Scene Boring 2 | Editing Blog

Earlier this week, I posted an article detailing a very long and unfortunately boring raw scene I edited and the steps I took to make it better.  Long scenes that consist of 2 characters talking are extremely tricky to pull off.  The challenge is finding ways to cut things out that aren’t working without sacrificing the story you want to tell.

Click here to read the original post.

The post received two fantastic responses from a couple editors weighing in.  These comments were simply too good to live exclusively in the comments section so I thought I’d bring them to the forefront again.

First up was Ed who discussed the importance of a short film’s length:

I read your post with great interest. I’m finding shorts to be filled with promise and, way too often, dashed hopes.  For starters, I’ve cut around 9 shorts in the past couple years. But three in particular became sad and classic examples of what happens to way too many of them.  One was the story of a returning Iraqi veteran that was written and directed by a Middle Eastern woman. Another was a meditation on a gay teen running from home and then meeting up with a mystical id at a desolate motel. The third about a defrocked priest falling for young girl who’s the victim of domestic violence.  Three fascinating stories told from honest and unique perspectives. All too long.  The end result was that shorts deserving quality festival exposure found themselves screening either nowhere or at venues of diminished distinction.  What they all shared in common was the classic “You can’t take that out because…”. And that because became “she’s a name actress” “he’s a close friend” “the audience needs this moment to appreciate the character arc”. But most telling of all was the concern that a short that’s too short will not impress producers, agents, investors, etc looking to attach themselves to new talent.

Here’s what I feel becomes immutable edit truth. Shorts and features all share the necessity of pairing down time, before the audience loses interest because of dramatic redundancy. And while that may be difficult to reconcile for feature directors, it seems impossibly so for short directors.  As an editor, I truly understand that many are made as showcase to attract interest for vertical feature moves. But understand that brevity allows us as audience members to insert our emotional stake into the story. And power viewers in search of exciting young talent have no interest in purveyors of drawn out pieces.  The saddest statistic I know is that I have worked with far too many first time only time directors who could not reconcile the “time” element to their story.

Next up Adam focuses on the importance of the screenplay:

I think in both the article and the comment above it sounds more like it was the screenplay that needed to be “paired down”. As an editor myself I have had to cut down or rearrange shorts. And I’m known for being pretty good at it. But there comes a point when you can only go so far before the film starts to play out “chopped up” or watered down.  It’s really the screenplay that needs to be tighter. When you strive for brevity in the screenplay you can weave scenes together, fix plot continuity caused by rearranging scenes or dialog, and add missing scenes or beats. Luxuries you don’t have in the edit.  Jay, I have not seen The Climb yet, but from your description of the scene above it sounds like it could have benefitted from being “travelled” rather than the entire conversation taking place with the two characters sitting in one location. This would have maybe lended itself to replacing some of the dialog with actions that expressed the same ideas.  Also a common thing that can make a long dialog scene boring is, well, long dialog. Characters that ramble on in long sentences. The same sentences can often be chopped up into smaller, more natural sounding ones, while still expressing the same ideas.  Another possibility is that the scene is mostly exposition and not beats.  I know you can’t change the screenplay now, but analyzing the scene for these things may help you avoid editing problems like this in the future, and it may also help you break down what parts of the scene are essential so you can make the best of your edit this time.  Seriously, start traveling your dialog scenes! If your screenwriter side starts traveling your dialog scenes your editor side will stop cursing him and start loving what he’s given him to work with. And the end product will be so much better for it.

I can explain Adam’s sentiment a little further as he was a huge help finishing Playing Through a few years ago.  That film is 19 minutes long and consists of not one but two lengthy dialogue scenes that take place in one location.  Those scenes were a challenge to edit as well but they were no where near as long as The Climb’s big scene.  While they are different movies he does raise a good point.  It’s important to recognize these potential issues at every stage of production from screenplay to final cut.  Since I began editing The Climb, my screenwriting has become a lot tighter and more focused.  I haven’t written a gigantic dialogue scene in a while though I do love to write conversations.

At the end of the day, there are moments when a long scene is necessary and others where a conversation is the most interesting choice. (See Quentin Tarantino films for amazing examples of this.)  When it comes to The Climb, I found a balance in between.  The scene used to be 10 minutes long told in 2 very distinct parts.  It is now a 5 1/2 minute scene that I’ve mixed with another which saved me even more screen time.

Which brings me to Ed’s point about the overall length of shorts.  Sometimes, you have to know when to cut.  I’m the first to admit that Playing Through’s length probably didn’t help it’s festival tour.  There are a million excuses to leave things in but you can’t ignore that a well told 10 minute film can be more effective than a 29 minute film with fat left untrimmed.

XTRA | Exclusive interview with a Short Film Programmer at the Toronto International Film Festival.

However, these are all things that should be considered but not necessarily followed verbatim.  Both comments point out extremely important elements that CANNOT be ignore especially by people creating short films.  It’s even more important if you are an aspiring filmmaker.  So while you should think about your screenwriting and editorial choices, what matters most is the story you are trying to tell and the movie you want people to see.  Putting something out there that you aren’t proud of is one of the most obvious mistakes audiences will spot.  People respond to dedication when you pour it into every single scene.  It starts with a dedicated screenwriter and spreads like a virus to actors, crew and the post production team.

In every project I’ve taken on there have been important lessons that shaped the filmmaker in me.  In the case of Playing Through, I’ve had people tell me it’s too long and others complain that it was too short.  I don’t think it’s possible to hear any criticism if you aren’t proud of the film to begin with.  I was. That’s the only way you learn.  Do your best and then find a way to get better.

Who knows how people will respond to The Climb when it’s done.  At this stage, what matters to me is that I finish a film I can be proud to put next to Playing Through.

When it’s over, I’ll take a step back and figure out how to raise the bar again and keep improving.

Special thanks to Ed and Adam for the amazing comments!

The Athletic Nerd Screenwriting Blog

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Damn Your Eyes: Making The Most Of Your Budget

April 28th, 2011 | Posted by jasonmckinnon in Featured Posts | Filmmaking | Interviews | Producing - (2 Comments)

Short Film Damn Your Eyes: Making The Most Of Your Budget | Directed by David Guglielmo | Independent Film Blog

EXCLUSIVE INTERVIEW WITH
DIRECTOR DAVID GUGLIELMO

One lesson director David Guglielmo learned while creating the short film Damn Your Eyes?

“Take risks.”

Every film budget presents different challenges.  Each story is different and each production is unique.  The story of how Damn Your Eyes came to be is a tale of creativity, dedication and making the most of the money you have.  As always, every movie must first begin with inspiration and a story you believe in.

Short Film Damn Your Eyes: Making The Most Of Your Budget | Directed by David Guglielmo | Independent Film Blog

“I was inspired by many things. Spaghetti Westerns, Traditional Westerns, Greek Tragedies etc… It also has many elements that are personal to me but they’re disguised. People think because a movie is fantastic, it can’t be personal. That’s not the case. I wouldn’t be able to work on this movie for six years if I didn’t put myself in it. I first thought of the idea for “Damn Your Eyes”  when I was a freshman at film school. I wrote a few scenes, but I felt I needed more experience to really pull it off. So I put it on the back-burner and made smaller shorts for practice. In my senior year I decided “Damn Your Eyes” would be perfect for my thesis.”

With a story in place and the passion needed to make it a reality, David set out to complete the script and get his project off the ground.

“When I finally sat down senior year and wrote up the script you see now, I knew I didn’t have much of a budget. That’s why there is only one shootout. I knew I could only afford one big scene like that, and I put it in the beginning because I heard that when judges and critics watch short films, they turn it off after the first couple minutes if they don’t like it. I wanted to start with a bang.”

It’s clear when you see the film that David genuinely loves Westerns.  That’s what I find fascinating about Damn Your Eyes.  Creating a film within a genre you love with a minimal budget requires tough decisions and a lot of creativity.  With so many influences and elements you would want to include, how do you create a film that incorporates everything you want without escalating the budget?

“When I was nine years old my mom let  me watch Pulp Fiction and I went to school the next day telling everyone about it. I skipped school to see Kill Bill. There was no way I would be able to sit in math class while that was playing in the theater.  At the time I was watching  Spaghetti Westerns, like the films of Sergio Corbucci (Django, The Great Silence). The Good The Bad and The Ugly is the ultimate Spaghetti Western, and I think Sergio Leone is a genius but I couldn’t take much from him in this case because I just didn’t have the means to go extreme like he did. If you notice, I shot almost everything in close-up. That’s because I’m shooting in NYC and New Jersey! I couldn’t have those scenic wides. I was very limited in that way but it made me more creative.”

Short Film Damn Your Eyes: Making The Most Of Your Budget | Directed by David Guglielmo | Independent Film Blog

“The film was made for $5k. I shot it for 4k and left a thousand for post-production costs. I got a couple of scholarships based on my GPA, and used my own savings as well. (So stay in school kids.)”

MAKE EVERY PENNY COUNT

High Production Values…  Low Budget.  How did David and his team pull it off?

“I think people go over budget when they don’t put enough time into pre-production and book-keeping. I have to give props to my producer Jennifer Joelle Kachler for keeping a mean book.  When it comes down to it, you have to ask: What do we really need, and how can I stretch a buck without compromising the quality and credibility of the film? The costume designer AJ Locascio and I went to thrift shops, bought handfuls of two-dollar items. He ripped them up, stitched them back together, threw dirt on them. We improvised.  What Sam wears in the movie is all made from scratch. The whole outfit was probably $40.”

“For the locations I had to think the same way. Louisa’s cabin is a gutted out bathroom on the side of a highway. The scene with the horse is a horseback-riding place for kids. When I first saw it my initial response was that there’s no way. I was about to turn around and go home but then I took a minute, sat down and recomposed my shots. I realized it could work. It’s all basic Roger Corman 101.  I needed to make a studio space look like an old saloon, so I went to antique shops and asked if I could rent their furniture because it would be impossible for me to buy it. It wasn’t their policy. I just figured it can’t hurt to ask. I didn’t have enough money for them to put a hold on my card, so I really had to get them to trust me. Thankfully nothing broke. I didn’t tell them it was an action scene we were shooting…”

Short Film Damn Your Eyes: Making The Most Of Your Budget

Another challenging element of producing a short film like Damn Your Eyes is scheduling.  Each day you shoot costs money and you have to be careful to make the most of the days you have.

“Scheduling was very difficult because I had to accommodate all the cast/crew, who were either going to school or had jobs.  I often had to split up the days and take whatever I could get. In the end it was 12 days total. It spanned from December to April, editing along the way.”

Beyond scheduling you also have to worry about elements that you cannot predict like weather.  These are challenges that truly test how prepared you are.

“One of the most important parts of directing is keeping morale high. You really have to act like everything is running smoothly even when it’s not. If people get the sense that you don’t have things under control, it’s over. I can’t stress enough the importance of a good A.D. Shout out: Giovanni Alberti.”

POST PRODUCTION

“I work closely with my editors. I like to be there during the edit. I think it’s such an exciting time. You really get to think, be meticulous, and watch the film come together. I also consider it another stage of the writing. Sound design is key. As well as sound recording. In post, I work with a guy named David Leaver and I really look forward to that part of the process. It’s very creative and fun. It’s like the icing on the cake. As for music, my process is always different. Sometimes I know during the writing, sometimes I have no clue until I’m editing. But I never edit to it. I tweak the cuts sometimes to fit the song, but I always prefer editing first then dropping in the music.”

DAMN YOUR EYES

Creating a short film with a low budget is a lot of work.  You have to find ways to make your vision a reality.  Damn Your Eyes is a fantastic story with extremely high production values.  The trick is simple: If you have 5 thousand dollars, do your absolute best to make it look like 20 thousand.

Click play below and enjoy DAMN YOUR EYES.

WHAT’S NEXT?

David is currently developing a feature length version of Damn Your Eyes.

“The story was always bigger than a short, which is why I titled it “Part I”. I was originally going to serialize it- making it a modern take on the serial Westerns of old, but now I decided it needs to be a feature. I wrote the script, and now my producer Jennifer and I are getting things ready on the business end.  The story has really evolved, and if you like this your going to love the feature.”

“Besides the feature, I have another short that I’m just starting to send out to festivals called THE ONE THAT GOT AWAY. It’s a dark comedy, very different from DAMN YOUR EYES. I did that one for only $2k. I’m also writing a lot. I have a feature script for a live-action children’s movie. It’s untitled at the moment. I really want to make that one day and have it say “From the director of DAMN YOUR EYES”. Producers might fight me on that one though.”

Special thanks to David Guglielmo for the interview.

Check out the film’s page on VIMEO here.

Click here to see an exclusive animation not seen anywhere else!

Short Film Damn Your Eyes: Making The Most Of Your Budget | Directed by David Guglielmo | Independent Film Blog

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Standing Out Amongst The Crowd: Pitching A Short Film

April 21st, 2011 | Posted by jasonmckinnon in Featured Posts | Interviews | Movies | Producing - (0 Comments)

Standing Out Amongst The Crowd: Pitching A Short Film | Chris Nash 'Daddy Warblocks' Interview | Independent Film Blog

EXCLUSIVE INTERVIEW WITH CHRIS NASH
DIRECTOR OF THE UPCOMING SHORT DADDY WARBLOCKS

“We’re really excited to tell this story.”

Getting together all the necessary elements to produce a quality short film can be challenging to say the least. Some people save up their own money while others rely on grants and private investors. Over the last few years, the term ‘Crowdfunding’ has become popular among indie filmmakers and it rightfully should. Instead of seeking out angel investors you essentially pitch your project hoping to attract thousands of smaller investments.

I’ve featured films that were funded through ‘crowd’ sites like Kickstarter and Indiegogo in the past but now it’s time to focus on the pitch itself. In a world full of aspiring filmmakers and millions of projects to choose from, how can you ensure you will stand out amongst the crowd?

Writer/Director Chris Nash’s pitch for his new project Daddy Warblocks is attempting to do just that.

THE STORY

“Daddy Warblocks is a story about loss. Conrad has isolated himself in his home. He doesn’t sleep well and he refuses to get rid of any of his wife’s belongings. This has been going on for a long time until one day he is given a set of magical toy building bricks. Bricks he uses to build the family he was supposed to have. But you can’t just build a family and Conrad quickly discovers what can go wrong when you play with the universe.”

The story is the key and presenting it to others is absolutely crucial. You also have to demonstrate a passion for the project. Give your potential investors something to believe in. Make them believe in your passion. Of course, it all begins with a screenplay.

“Pick a human emotion, think about it and let the story come from that. I was inspired by the theme of loneliness. The largest challenge has been fitting the story within the short-film time frame. It’s really easy to expand and expand but it’s rather difficult to cut-the-fat and keep the meaning of the story present. I collaborated with Martin Anthony and Luiza Almeida, who took equal part in the writing process.”

THE HOOK

What I found fascinating about the project was the involvement of renowned LEGO Artist Nathan Sawaya. If you’re going to make a movie that centers on the creation of elaborate brick sculptures then why not go after a famous LEGO artist?

Nathan Sawaya LEGO Artist

Image from www.brickartist.com

“Nathan Sawaya got involved after I sent him the fake trailer for the film. He loved it. He actually called me eight minutes after I hit send. His enthusiasm and love for the art has proven invaluable.”

The lesson here is that you’ll never know unless you try. Take a shot and make your project stand out! Still, Chris and his team weren’t satisfied and set out to create a fake trailer for their project.

THE VISION

“The pitch for the short film was partially us working with the concept loneliness, but also partially used to try to enter a 48-hour film festival. The A3F. We didn’t get into it, but we were honorably mentioned. It was the 48 hour film festival inspired the trailer. I think otherwise we would have just made concept art.”

If you have the resources available to you, why not go for it and show people what you intend to create. Give them a hint of the tone and overall style you are attempting to achieve. It’s a fantastic option to help sell your pitch to the masses.

“The trailer came together in two days. One half-day for writing, one full-day for filming, and another half for editing. It was a quick process. We showed up at our friend Bill’s house and just did it. It took about 11 hours, 14 if you count transportation and lunch. Editing took about eight.”

Standing Out Amongst The Crowd: Pitching A Short Film | Chris Nash 'Daddy Warblocks' Interview | Independent Film Blog

THE PITCH

“No shortcuts. Nothing Is Automatic.”

This is the motto of Storybird Films, the collective production team behind Daddy Warblocks.

“The concept that there is no guarantee of anything. No audience is guaranteed to love your work, understand your work, or even pay to watch it. So we take a work-hard approach. At the end of the day, if you’re not tired, then you’re not doing it right. Get busy. Work at it every single day, and follow EVERY lead/idea people throw at you. Worst case you’re in the same boat, and best case you’re in a new boat.”

I think it’s important to keep in mind that while your story is at the center of the pitch, you have to surround it with passionate and dedicated people. So the Storybird team took all the elements they had gathered and created a sincere pitch for crowdfunding site Indiegogo.com.

Carefully developing your pitch is extremely important but it doesn’t end there. You still have to get the word out.

BEYOND THE PITCH

Crowd Funding sites like Indiegogo and Kickstarter are a fantastic resource for people to learn about your project but how do people know what to look for? You also have to put careful thought into how you will promote the pitch as well.

Social media is a key component to running an online funding campaign. Sites like Twitter and Facebook are absolutely crucial. Start with your friends and family and expand as rapidly as possible. Chris went above and beyond by emailing sites like mine. You never know unless you try right?

THE RESULT?

Daddy Warblocks is still looking for support at this very moment. Behind the scenes, the team is working tirelessly to make sure they will deliver on the promise to deliver a heart felt and touching story about loss.

“No Shortcuts. Nothing Is Automatic.”

Check out their Indiegogo page and don’t forget about the donate button as well!

Keep up to date on their progress by following them on Twitter and visiting their site www.storybirdfilms.com.

Be sure to check out Nathan Sawaya’s site as well. There are literally hundreds of INCREDIBLE pieces of LEGO art over there.

Special thanks to Chris Nash for the interview. Best of luck on the project!

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‘Playing Through’ Gets Honorable Mention At NSI Short Film Festival

April 15th, 2011 | Posted by jasonmckinnon in 17 West | Featured Posts | Filmmaking | Playing Through | Producing - (0 Comments)

'Playing Through' Gets Honorable Mention At NSI Short Film Festival | Short Film | NSI Canada

Recently, Playing Through was accepted into the NSI Online Short Film Festival and we just got word that our film was given an honorable mention for the A&E Short Filmmakers Award!

Check out the news story here.

I’d like to congratulate ‘Remote‘ directed by Marc Roussel for winning the award and I’d also like to congratulate Hugh John Murray for getting an honorable mention as well for his film ‘Desiderata‘.  It was the first time there were two honorable mentions.

The NSI Online Short Film Festival is a fantastic collection of Canadian films and we were thrilled to be a part of it.  Here are some of the nice things the jury said about Playing Through.

“Solid storytelling by the filmmaker and great chemistry between the actors combined to make a touching and heartfelt film.” Juan Riedinger

“This simple golf afternoon is intelligently layered with complex emotion.  I respected its patience and its humble approach in unraveling private anxieties within one simple setting.  All elements were nicely in sync in this story – photography, editing, performance, direction, and script.  It is a lovely character piece about friendship that is respectful of its medium.” Anneli Ekborn

“This unabashedly sweet and unique portrayal of male relationships captures a moment of reflection on what matters most.” Danis Goulet

You can head over to NSI and watch Playing Through in it’s entirety right now.

Special Thanks to NSI Canada for their support.

Playing Through independent short film 17 west productions

Click here to visit 17 West Productions.

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