Filmmaking / Directing : FILMMAKERS: Are You Studying the WRONG Films? by Karen "Kay" Ross

I frickin' love D4Darius

Very nice discussion every wannabe film maker should watch. Although in truth, there's a LOT of things that you can borrow from in those big budget features. In fact, the exact same list he recites to watch on a short.

His Will Smith Composition video rules.

Louis La Prince invented single lens movie camera in 1888 Leeds, pre covid films made by directors such as Charlie Chaplain were pre booked for events and about to re schedule. A niche audience maybe but a film has to be good to become legend. Epoch amounts of money or epic locations and hi tech cameras are not a blue print or guarantee for a good film. I agree @Shadow, there are points to be learned in above video but as the first director I trained under said “A feature is a long short.” Another in same film school said “Human emotion is not dependant or at the mercy of expensive equipment.” (Chris Thomas & Simon Hunter Raindance) I also did London Film School, London Film Academy and other schools in Ireland and Spain before working in Indie. Film over years has become (in the mainstream) an institutionalised product yet is everyone’s birthright. There is no censor to execute artistic ideas other than a fear of doing so in the first place. Intellect and i phone is better than a bad idea on a steady cam and hand held.

P.S Sorry got cut off cos just had to re charge phone. Furthermore I think ALL films should be studied because some major studios have had huge losses and some Indie budgets have had huge successes. We need to learn from everyones mistakes without first pre judging by giving them a label. Short/Feature/Studio/Budget.

PPS. Re Sundance workshops years ago, artists with box office hits agreed music/ drama came from inside own head without need of excess outside resources on set. In one film they showed how on a low budget an antique ticking watch and ocean waves together with good actors achieved rippling audience emotion. Another, a close up of facial expression and unique song told the story from inside the mind of a protagonist. Many past Sundance winners were low budget, EG Ryan Coogler Fruitvale Station was mainly shot in a train carriage.

Yup context is so variable we do love to reach out and study everything !

I appreciate D4Darius tips to save some early starters heading for a train crash but also I embrace turning situation on it's head. Revolutionary times are in full swing although this started some years back with Mutlti Media and digital film making then Transmedia and now the Metaverse. There is no longer any magic button equipment or Holy Grail studio anybody has to obtain before executing a short film idea. I'm NOT suggesting amateur enthusiasm but study well and box clever with alternative tools, some of which are free or available at small cost. Obviously for a zero budget one location and two actors is preferable yet an ensemble cast is not out of the question with two i phone users and apps such as Cadrage, Lens Tool Kit and Magic Cinema. (Can be done with 1 but would then need to re block and re position actors again for over the shoulder, walk ins Etc.) Long complicated multiple cast/ locations are out but sometimes crucial end scenes of such films can be adjusted. These type of scenes are shorts in themselves if audience is reminded of old stakes and given a new stake so that conflict is refreshed and any consequences begin from the dialogue "now" on screen. Shot list/ story board is crucial whether it's a one pound or a one billion pound production, as many crew as possible need to be inside director's head. Some say otherwise but in Indie situations if technical crew arrive on the day and don't know you from Adam they quickly "Get It" with diagrams. For storyboard no crucial element is needed other than pencil and paper such as this scene 1976 Taxi Driver. Stick figures and facial expressions are enough for those who can't draw. Hiring a storyboard artist may mean two lights instead of three on the day.

LOL! It really does, Nicholas Nazario! I just love seeing people who have fun with their videos, and he does fun SO well!

In this particular case, Debbie Croysdale, I don't think he's saying "don't watch them", but rather when you study film as a means to influence your work, consider watching more films that more accurately fit the mold of what you're attempting to make. It's very easy for filmmakers to look at bigger films and get discouraged about what they're making when only able to make a short film. I definitely see how "a feature is a long short" can help you bridge the gap, but so can watching high-quality shorts.

For me, the big question this brings up is - where are you watching the thing you are making? If you are making shorts, what shorts are you watching? Where are you watching them and who else watches them? If you are making an indie feature, what other indie features are you watching? Where are you watching them and who else watches them?

Some part of bridging your expectations as a filmmaker I think has to include shifting your position as an audience member to a "participatory audience member" - it's a bit like becoming a fan. You don't just know the story and what you like about it, but as a "participatory audience member", you learn about the behind-the-scenes, you join the special screenings and Q&As, you even engage in the communities that are hosting these screenings - all while knowing that, in essence, "what goes around comes around" and someday, this community will be available for when your work is shown. Part research and part investment, but all to allow your creator brain to get that boost of "yeah, I can do it" and "yeah, I'll have an audience".

@Karen Excellent point! I forgot to mention it. Very early doors before a project even starts study who the audience will be then monitor reactions to private screenings. (If no funds for physical theatre screening do via social network etc.) Also wherever possible create a built in fan base. This need not cost, many fictional characters have had social media followers on mass before execution of any film. I agree you need two heads, one an audience member the other behind scenes operator.

PS. Initially I studied shorts that connect with audience on a deep psychological level with two actors, no action and in one location which makes sense for steady cam and hand held, lights etc on tight budget. Then I started working on more fast paced moving plots with action taking above equipment out of the equation via mobiles. (What I often do in between sponsored pro film crews.) I agree with D4 that Pulp Fiction is certainly not user friendly study material to make own film but if you take just one scene to remaster it can be a short in itself.

@All Zero to low budget filmmakers need concentrate on the intellectual ride with whatever tools available rather than worry about perfect technical execution. Does each piece of dialogue move a plot forward or if their is no complex plot does it change emotional status quo between key characters? Do we care about the characters? Or do we hate them? Are we batting for a side? Is the intrigue enough to keep us going to the fridge for beer or ice cream? Cool characters and page turning scripts ensure bums on seats. No low budget film maker has epic locations, A list actors or epoch funding so instead of grappling to compete against all odds embrace the little at hand. Nobody ever left a film saying “I felt nothing during the film but wow I’m reeling off the rose tinted lens and flying robot in scene two.”