In 2007 www.BulletFilm.com was a new web site created for film industry professionals who were tired of long and endless waiting for talent hunters to notice them and wanted to take control over their career. This site's creators had ambitious goals and offered its members a significant amount of information.
It was sad to see the site disappear from the web in 2012. My brother is a relatively young film maker who majored in film. He lives in the Washington DC / Baltimore area at the moment working for an advertising company. On the side he is planning to do a documentary on some of the best Baltimore moving services in the area. His angle is that they must have some great stories to tell about clients' moves. One company he has approached has been in the moving and storage business for 1892. A young German immigrant who, through his entrepreneurial spirit, began a small business to help people move their belongings as their jobs relocated around Baltimore. From their beginning, this Von Paris Moving & Storage company has been a family-owned and operated business. Today, third, fourth and fifth generation family members continue to provide outstanding service. He's seriously considering just focusing on this one company. We will see. BulletFilm.com would have been a great site for him to utilize once his video is completed. But they are no more.
It was sad when the site disappeared from the web in 2012.
Hopefully seeing some the of the site's archived content will inspire others to create another site with similar goals.
On www.bulletfilm.com you can create your unique account on which you will be able to show your films to others and much more.
www.bulletfilm.com has been created for people with vision and perspective on their work as well as willingness to use every possible media channel to get their films across the globe.
Bulletfilm.com is a strictly professional web site that promotes professional filmmakers and their work.
Hope you will enjoy using www.bulletfilm.com
What is bulletfilm.com?
bulletfilm.com is a new web site that promotes independent filmmakers around the world.
We use video streaming to transmit video files.
What is the idea behind bulletfilm?
Bulletfilm.com has been created for filmmakers who make great films but have no way of getting into traditional cinema distribution but still would like other's to see their work.
Bulletfilm.com is created for both filmmakers and audience who is looking for alternative to mainstream cinema.
Bulletfilm.com will also try to participate in introducing filmmakers to each other who could cooperate in the future projects together.
What does joining bulletfilm.com give you?
When you join bulletfilm.com you create a unique business card with information about you and your work as well as portfolio with your films on it. This can be viewed by anyone who is a member of the Bulletfilm.com community.
You can also use your account with bulletfilm as a business card to promote your work.
How do I join?
To join you need to carefully read the terms and conditions and fill out a couple of registration forms that follow terms and conditions.
Do I get email and password confirmation?
Once you join you will have your own account and unique password (we recommend not to show to anyone) sent to your email address that you have provided.
What do I do if there is any problem with my password or user name?
Your account might not be activated because:
you didn't pay your membership
you gave us the wrong email address
you gave us incorrect details
However if there is still a problem we recommend you contact us on firstname.lastname@example.org and we will deal with it as soon as we can.
Do I have to create an account?
You don't have to create an account to have a look at bulletfilm.com however if you want to add your films you will need account. If you want to watch films you don't have to create an account but you will still have to be logged in.
Do I have to be a member to use bulletfilm?
If you want to be able to use all of bulletfilm.com many facilities you will have to be a member.
Do I have to be a filmmaker to use bulletfilm?
You don't have to be a filmmaker to join the bulletfilm community but you have to be logged in.
Benefits of registering with Bulletfilm
Upload an unlimited number of films for others to see, rate and comment on.
Create your own professional profile, including all relevant information about yourself as a filmmaker or a film lover.
Network with other filmmakers through blogs, forums and Bulletfilm mail.
Rate and comment on films and blog entries.
Easily review and moderate comments on your own work.
Learn about filmmaking from professionals.
...and do even more now as...
Some of Bulletfilm Premium Benefits:
Combine your videos, pictures and blogs, creating a comprehensive summary page displaying all your work.
Your chance to get viewers interested in your work. We’ll give full backing to successful promoters.
You’ll have your own spot to get connected with like minded filmmakers.
Use our business card templates to introduce yourself in the most professional manner. Create your info packed resume, ready to send worldwide
No excuses for being haphazard with agreements or going over budget. Our legal team have got all the templates ready to edit and print.
Create publicity for your enterprise, by sharing news with the Bulletfilm community. You’ll get double publicity if you include it in our news section.
Selling a DVD , film equipment or anything else useful, we might already have a buyer. Just let us know and we’ll link you up.
Add your name and services offered to our useful websites directory. Search engines pickup on specific words, so elaborate & get noticed.
And there’s more, take a peek…..
BASIC TECHNICAL REQUIREMENTS FOR USERS:
Access to the website
Access to the website will be possible for PC / MAC computers with the possibility of searching the Internet with the use of one of the following browsers:
Internet Explorer 6.x, 7.x
Mozilla Firefox 1.5, 2.x
Opera 8.x , 9.x
You will be required to have, or install FlashPlayer Ver. 7 or higher to your browser.
Your Internet connection speed for viewing the films should be greater than 56kbps. The recommended connection speed for comfortable viewing of films is equal to 512kbps
Conditions for storing and converting the films
One user can store on their account up to 3 films. One film can last up to 20 minutes. For technical reasons a single file in production format (after conversion) cannot be larger than 70 MB.
Correct conversion of AVI and MPG formats of the source file to FLV production format is guaranteed provided that codecs supported by FFMPEG programme are used in these formats.
The website also supports other source formats (e.g. MOV, 3GP) but it does not guarantee completely correct conversion of these formats to FLV production format.
The specification of supported formats/codecs may be amended without notice if another version of the conversion software is installed.
Some 2011 POSTS
CANNES FILM FESTIVAL (SFC – Short Film Corner) - part I
2011 was the first time bulletfilm.com team has attended the Cannes Film Festival. Our short film The Man With The Spying Glass was screening at the Short Film Corner. Since it was the first time for us and everything was new, we have decided to share our experience with you guys. It’s for your convenience so when you attend the festival you will be a bit more prepared than we were.
As you possibly know or at least can imagine the whole event is huge and certainly unlike any other film festival we had attended before. The most important thing there is business.
Let’s simplify everything and call the whole thing just Cannes. It is divided into many parts, following are the ones we’re familiar with:
- Cannes Film Festival
- Cannes Film Market (Marche du Film)
- Producers’ Network
-; Short Film Corner
- Festival Residence
- Directors’ Fortnight
Additionally, during the festival another festival takes place (at least the one we know of):
- Cannes Independent Film Festival
Actually getting into any of the screenings at those two festivals was pretty doable. And the Cannes Independent Film Festival even takes place inside the Palace, itself.
As for the films in competition or, in general, the official selection, they’re screened few times a day. Some of them can be watched by the festival attendees three times a day, let’s say at 8.30 am. 4.00 pm & 9.00 pm. Of course getting tickets for a red carpet is almost as possible as getting tickets for World Cup final. But the eager ones will probably focus on ‘almost’.
However, to book the invitation for any of the competition screenings, you need to log in at the right time. For instance, for the 8.30 screenings, which were the only ones we managed to attend, the booking started on 11.46 a.m. previous day. Of course, the later you are on, the less chance you have of getting an invitation.
At the beginning of the festival we had 130 points each credited to our badges. It was also the maximum amount of points we could have at one point. We don’t know if different types of accreditations had different amounts of points credited. Each invitation to the screening costs certain amounts of points. The more film or screening is prestigious, the more points it costs. This way you spend your points but you also earn 2 points back every hour passes.
So once you book your invitation you need to collect it on time with your badge in an appointed spot in the Palace. Then you’re good to go. Oh, at least that’s what we thought. However, we learnt the hard way that having an invitation doesn’t equally mean being admitted to a screening. We lined up for 45 mins being tossed from one spot to another, from one venue to another before we were admitted to the screening. And not all of the people who were waiting with us in front of the theatre were that lucky.
Luckily, the festival competition and out of competition screenings are not the only ones you can attend. There are also other sections (Director’s Fortnight, Un Certain Regard, ...) and Marche du Film. Yet many screenings of Marche are mostly reserved for distributors and sales agents. Some companies let “normal” people in, though, when the theatre isn’t full (we got to see Der Sandmann and The Guard which we both strongly recommend). Having said that, not everyone is as easy going as the Irish or the Swiss. For instance, one of the American distributors didn’t let us in to watch Margin Call, even though the theatre wasn’t even half full. We reckon, it’s a very good way of losing future audience.
At times you can get invitations from the producers or production companies to attend the screening. It’s useful especially when you want to see particular Marche du Film titles, the ones that you would never ever see otherwise.
We do understand that films must be sold and distributed. However, if doing so, there still is a chance to build your future audience, the chance should be taken. But some of these people feel too important and don’t need ordinary people to watch their movies. Pity.
As stated above getting to the Cannes Independent Film Festival or other sections is doable and at least there are about cinema in the first place. So if you are in Cannes for the cinema and screenings there are plenty of opportunities to do that. But this is not something people come to Cannes for, at least not most of them.
Most people come to Cannes to do business, to meet people and to network, which isn’t a piece of cake. What we’ve been told was that most people arrange their meetings in Jan. Since we even didn’t know back then we were going to attend Cannes. Since we found out at the end of March we did whatever we could to arrange meetings, in our case with the festival programmers. We didn’t think of selling The Man With The Spying Glass so even though we got in touch with few buyers this wasn’t our aim.
My very, very late email campaign managed to get me only few responses from programmers. And it’s too soon to tell if and how this will all evolve.
You may wonder how we got access to all those people. Well, Short Film Corner send us access to http://www.cinando.com website, where we could find a list of buyers, sales agents and film programmers attending. Also, we have found some useful information on the Short Film Corner website, itself.
Of course the sooner you know you attend SFC with your short the better ‘cos you get in touch with the people you want to connect. Their agendas fill up really quickly so the timing is vital if you want a positive reply.
Since Cannes is such a hectic mess, it is of the highest importance that you plan your trip very thoroughly and define your goal at the festival precisely. This will stimulate your concentration ‘cos Cannes is huge and without that you will be carried away and your visit may be futile.
The Palace is really huge with 6 floors altogether. In the basement the SFC and part of the Marche du Film is located. We were told that it’s arranged kind of like the big corporate buildings. The higher the exhibitor is in the palace, the more important this company/person is. Amongst the exhibitors you will also find film commissions.
Outside of the palace, along the Croissette a lot of distributors, production companies and/or films are placed and advertised. Of course you can always go in and try to talk to any of the companies. In most cases you will be ignored but it’s worth trying.
On the other side of the palace, just next to the sea there are Pavilions, which represent various countries and their cinematographies. Of course the biggest and the most popular pavilion was the US one. However, to be able to get in one need to pay. It cost us $50 each for the access for the whole festival. For this 50 bucks you get entrance to the biggest pavilion, possibility to participate in the panels, access to the Internet (otherwise Internet in the Palace can be very expensive. However having said that, I must reveal that for example the British & the Irish pavilions had free Internet and the access to these pavilions was free), admission to the parties and very good opportunity to network with people. People we came across in the American Pavilion were more friendly and talkative than other places. Therefore the networking part was much easier and more pleasant. It just didn’t feel like toiling like it did in some other places around the Palace. However, the question always arises how many good relationships can you establish talking to someone for 10-15 min.
Two more words about the access to Internet around the Palace. The free access is granted to the Marche badges holders. The login and the password are printed on the face of the badge. So befriend with a Marche badge holder or be thoughtful and read these details from a random Marche user and you also will have a free Internet in the Palace.
Back in the pavilions. It is very expensive to eat and drink there. Luckily some of them, like the Irish and the Italian, for instance, offer free coffee, tea and water. So this is positive J
The pavilions are very useful for all minor attendees (like no big figures) of Cannes Film Festival. It’s a place to meet up with other like-minded people, to set up business meetings, to meet festival programmers or leave a message for them, as well as find out about incentives, tax breaks and co-production opportunities around the world.
Also at some pavilions you can leave your leaflets. I managed to leave the leaflets for my short The Man With The Spying Glass in the UK pavilion. I know that in the US pavilion you had to pay for leaving the leaflets. The other pavilions we found useful and informative were: Canadian, Irish & South African.
If you can get out of the pavilions and the Palace for a while, try to have your meals outside of the area. The further away you go from the palace the cheaper food you find and the more friendly and relaxed people you encounter.
This is a first part of our Cannes experience. We hope it'll be useful for those of you who will visit the festival in the near future.
CANNES FILM FESTIVAL (SFC - Short Film Corner) - part II
by Magdalena Olchawska / Marek Olchawski · Aug 24th, 2011
After the while, we're bringing to you the second and last part of our recollections from the 2011 Cannes Film Festival and our advices for you regarding this event. In the first part we tried to describe he general experience of the festival as well as show you the best ways of getting around the palace and attending the screenings. This time we'll talk about the Short Film Corner itself, getting around Cannes as a city and a bit about the fun in the whole thing.
TRAILER: The Man With the Spying Glass
Published on Feb 19, 2014
Placit lives in a dreamless society where people have to take pills to stop dreaming and thinking. Almost everyone wears helmets, which gives global government access to human thoughts.
Placit's deepest dream is to be a puppeteer. However, he is afraid to go against the system which was created by his father, and strongly defended by Placit's cynical self.
Award Winning (Ballston Spa Film Festival Best Picture 2011) short fantasy drama. FILM FESTIVALS & AWARDS
Jaipur International Film Festival
Newport Beach International Film Festival
New York International Film Festival (screening in NY & LA)
Festival de Cannes - Short Film Corner
Ballston Spa Film Festival: Best Picture 2011 at the BSFF
Naoussa International Film Festival (Greece Sep. 2011)
Poppy Jasper Film Festival (US Oct. 2011)
Cornwall Film Festival (UK Nov. 2011)
Short Film Corner had a lot of panels, some of them very good ones from what we’ve been told. These panels could be attended by anyone but since there was limited number of seats, many of them were very difficult to get to. There were also breakfasts organized for the SFC members. Any SFC member could apply to participate but getting to the actual breakfast was not easy at all. Apparently only 60 people were invited to each breakfast. And there were four breakfasts, altogether. How the selection was done, we don’t know. However, we found out that it looked a lot like a speed dating. Attendees had few minutes to pitch their projects to programmers, sales agents, buyers or whoever was invited for breakfast. Generally, Short Film Corner is like a market for shorts and it is wild.
Since we got there very early on the first day, we did manage to secure a very good spot for our poster, which afterwards we had to guard ‘cos people were putting their posters over ours. It was really uncivilized and actually the last thing we’d expected at the film festival. And they should know better. A lot of money and time is spent on making art so respect on one another’s work.
At first, when we came there was plenty of space to leave leaflets on the stands. However the longer festival lasted the more ridiculous it was getting. The flyers were everywhere, taped and pinned ones on anothers and pouring out of the plastic wallets. It got so bizarre that after the first weekend we decided not to leave any more of them. Another thing which shocked us among those leaflets and posters was that there was a lot of stuff not related to SFC nor short films being presented there. Generally staff responsible did not have this situation well in hands.
Another ridiculous thing in our opinion was putting by some participants on their posters “Cannes Official Selection Short Film”. We saw a few posters like that and we found it a bit cheap. Especially having that kind of poster at the SFC. Desperate.
The SFC films could be basically watched in a library with around 35 – 40 computer stations. There were some minor technical problems at the very beginning but they brought everything under control pretty quickly. And the staff there was very polite and helpful. At first there was no problem booking the computers for watching films but while the festival lasted, it was getting a bit more problematic. However the general rule was the later in the day and into the festival the longer the waiting time was to get a computer.
At the library you could watch both, shorts in competition and shorts from the SFC. The director(s) of each film had additional facilities and using their login and password could check out how many people watched their short.
Down there at the SFC there was also a place for buyers, where they could come in and watch the films. The best to engage with buyers is either to email them ahead of Cannes or leave postcards, leaflets and information about your short at the buyers corner. Some people left copies of their shorts for the buyers as well. This way even if you don’t get a meeting, you at least let them know about your work.
This year there were 33 buyers so we left 33 cards. However, the opinions about leaving DVDs for the buyers are divided. Some people say not to bother ‘cos they aren’t going to take the discs with them (actually one very friendly distributor said that if their bag is too heavy the first thing people dump are the DVDs). On the other hand some people said that buyers actually watch DVDs. Well, we left leaflets and we’ll let you know how that went J
There are also few screening rooms available for booking to screen your film in. We didn’t book a theatre for our “The Man With The Spying Glass” since we didn’t have the relevant audience. By that we mean business people: buyers, programmers, distributors, producers. A lot of people actually did book theatres and were hanging around the poster board trying to get random people to come and watch their film. How productive it was, we don’t know but the way we see it a bunch of random people isn’t going to advance your career. Of course, we can be wrong.
They served free coffee and water at the SFC so if one is on a budget, one can have at least those things free of charge. Every afternoon between 5 p.m and 6 p.m. there was Happy Hour with free drinks (bier, wine, sodas) and things to nibble. It was designed for people to mingle, meet each other and talk. It was very, very crowdy during happy hour. It looked like some people come downstairs to SFC only for the drinks.
We went couple of times but it was just wild and the whole place smelled of determination and despair. We’ve been approached by people who wanted pretty same thing as we did. To promote their work and to find some business partners. It, once again, felt like a speed dating.
SFC is surely fun and a place where you can meet a lot of nice people but mostly the people of one sort – short filmmakers. Should you want to meet people from other professions, you need to go out and to spend time outside of the SFC.
Also from what we observed leaving DVDs in random places or giving them to random people doesn’t really work. Respect your work and give it only to people who really show interest in your work and the chance they would really watch it is significant. Probably even better idea is to email these interested people a link to your short, which you probably have online set on a secure server, anyway. This way when they get your film, they’ll already be at the medium which allow them to watch it immediately.
What you also have to remember is that, after all, you’re at the Cannes Film Festival and that there is a whole world out there worth exploring.
A big part of this world are famous Cannes parties. They are organized in very different places such as: hotels, rooftops, boats, pavillions and restaurants on the beach. Unfortunately, most of them are only for the invited guests so one need to have an invitation or at least to be someone’s “plus one”.
Some people try to sneak to the different parties through the beach but what we’ve heard from the regulars it used to be much easier since nowadays a lot of those places has security in place. Some people, like us, prefer to have a dinner or coffee with other people met at the festival and rather tighten the relationships than desperately try to make tens and hundreds of small talks.
Anyway, parties may turn into very useful events for you since filmmakers looove to party and you never know who you are going to meet there.
Some people tend to arrange meetings at the La Croisette big hotels ‘cos these are the places where you can meet a lot of important people and big figures plus you can get free Internet. On the other hand, any drink in a hotel bar can be at least twice as expensive as at any other given restaurant or cafe.
When we’re already in the hotels, let’s talk a bit about accommodation. As you can imagine (or you know) it is rather expensive and obviously there is not enough beds for everyone attending the festival. That is why many people stay outside Cannes, even as far as Nice.
We were pretty lucky to be staying in Mandelieu la Napoule, which is the next town at the seaside, only 8 km. away from Cannes. And from the festival point of view it is on the very good side of Cannes, too for it’s on the same side as the Palace is.
Of course, if you aren’t on a budget and can afford to stay in Cannes, do it by all means. Your festival life, especially on nights, will be easier. The choice and the prices are far more reasonable when you book a place way ahead of the festival.
But when you’re not staying in Cannes, you need some transportation. You can either come by car or come by plane to Nice and rent a car or use the public transportation. Whichever you choose it’s not goona be a piece of cake.
Driving and parking around Cannes is horrible, especially on weekends. Yet in the morning traffic is not that bad but as the day grows it’s getting worse and worse. There are few parkings spread around the city but they’re quite expensive and/or very, very narrow. We drove prety compact Renault Scenic so we managed somehow not to get scratched but in a bigger vehicle it could be very, very difficult. And, when you use a car, drinking is problematic ;))
So the public transportation then. Not so fantastic either. In most places in Europe public transport is very well or at least well developed. However Cannes is not such case. First of all it is located in France and they like to strike. It was the case on the very first day of the festival when the bus drivers decided it is the best moment to go on strike. So they did.
No worries you may think for there is a good railway line along the coast. That’s through but if you want to stay late it’s no good either. They just don’t care that so many people come for the festival and even during the festival the last train towards Mandelieu and Frejus leaves around 10 p.m. If you stay in Nice or between Cannes and Nice you’re a bit more lucky for the last train to Nice is around midnight. It’s still nothing if you want to party.
There’s also reliability issue. We used the train two or three times and one of these times it just didn’t come. For a reason not even known to the cashier.
However, if you decide to use railway, check out the weekly tickets prices. For instance the weekly card from Nice to Cannes is sth below 20 EUR and the single return ticket on this route is 12 EUR. You do the math.
So, you came to Cannes, you have a place to stay and it’s all good. But do you know why you came here? It is very important that you know what is your purpose of being in Cannes and it’s always good to have a project you are seriously working on, not just thinking about writing.
Once you have one, two, five projects you will find that it’s easier to talk to people about those projects ‘cos you have something solid. And, as we pointed out before, have your promotional materials with you. The size and amount of them we leave for you to decide. However, we advised not to take too huge things or too many of them. Unless you have unlimited budget for promotion.
While in Cannes it is very easy to forget that it’s also a fun place, not only event at which you have to establish relationships. For us the fun part was cultivating, in a pleasant way, the ones we already had. So called wining and dining.
Even if you encounter 50-100 people, you most probably will stay in touch only with few of them. But amongst these few there may be people with whom you will be able to work with in the future and this is what really counts. At least for us.
We hope our account of Cannes will be useful for your future embarkment on the Cannes Film Festival adventure. And probably not only for that since all the big events are more or less similar.
FILM MAKING TIPS
Prints on the CD's and DVD's covers for film festivals
Always check the rules and regulation of the festival since in one of the sections it might be stated what is required for the DVD cover or CD (press kit) cover.
Film Festivals - 2 lists of the most important festivals.
Being a filmmaker you eventually get to the point where you have your film ready and are beginning to think how to show it to the world.
Festival Circuit for short films
Before you set off to promote your short film, at film festivals, you have to clearly identify the goals for your film. Is it just to show it to the world at the festival, perhaps to find a sales agent? Or could it be to find an investor for it or maybe for your next film?
Film Festivals- Tips
Film Festivals are great places to meet people, to network, to watch the films that you would never normally see otherwise and of course, and most importantly, to get your films watched by the audience.
Film festivals are cultural events that concentrate on promoting films to film fans and film professionals. Film markets are trade events where business is conducted (finding distributors, selling films to different territories, etc.).
For the purposes of this article we are just going to talk about the shorts sales agents. A sales agent is an individual or a company who will try to sell your film to as many networks across the globe as possible.
Terms and definitions for film directors/actors
a. SUPER OBJECTIVE: The overall OBJECTIVE that carries the character through the entire story.
b. ACT OBJECTIVE: The OBJECTIVE that carries the character through a single act of the story.
PRESS KIT – is needed for film festivals, film markets and also when you send the film to a potential sales agent or distribution company. You must ensure that your press kit looks as professional as possible.
Indie Producers Must Rethink The Filmmaking Process by Price Jaccobi
Filmmakers shouldn't make movies the way they've always been done if it means nothing gets done. The existing filmmaking paradigm was created by large companies with contract players, large pools of skilled labor and lots of money. You aren't a big film studio and don't have any of their resources, so why make movies the way they think they should be made?
DAILY NEWS – it is a document prepared by the director and his assistant for the benefit of the cast and crew. The purpose of its is that the work on the set can run smoothly or at least as smooth as possible.
PRESS NOTES – this is an outline of what information you will need (if you distribute your film yourself) to include in the press release kit.
The Director’s Journey with Mark W Travis.
During the Munich Short Film Festival Mark W. Travis, the film director, ran one of his workshops called “The Director’s Journey”. I attended the workshops and found it really useful. Below are some pointers, thoughts and ideas from the workshops which I thought I would share with you.
Film Speak - Guidelines
This article was created to get the people involved in the process of film making speaking one language, so once you are on the set you know what everyone is talking about.
This is always the hardest part of filmmaking because once you have your beloved film finished what do you do with it. Many books have been written on the subject, so I would definitely recommend going to the bookshop and checking some out. The titles and publications keep changing quite often, just like the ways of distribution, so the best way would be to go online or bookshop and choose one that you think would be helpful.
How do I get money to make a film?
This is a difficult question and I get asked it over and over again. Many countries have organizations that deal with film funding and not only national organizations, but also local organizations (check up my notes for the useful websites).
How do I get work in the film industry?
When I began my media degree in Film the first thing we were told was that if we wanted to get a job when we finished, we should change course. I am not going to lie to you it’s hard and that is why some people say that it is better to go into the media/film industry without a degree, since you will still start at the bottom with or without a degree.
How to work with actors?
There are many good books written on working with actors, so try to have a look at the library and your local bookshop. You can also try to find workshops for yourself in your area. However, the best experience you always get is by working with actors and learning from them and from your own mistakes you make while working.
How to work with the crew?
Regardless of whether you work on a small set or a large one, you need to communicate well with all the members of the crew. By that I mean explaining very clearly to the head of departments what you want and need from them (Head of department will be dealing with the rest of the crew members. If this is a small production you will probably only have heads of departments. So you will communicate with everyone directly). If you are not satisfied with what is delivered or with someone’s work, be straight with that person and say it; otherwise it might complicate things later on.
Making a film
Filmmaking is a long process, very often it takes years before a film is made. The short I am working on right now, I started writing last year but it’s 15 months later that I am going to make it.
Rehearsal is an important and integral part of any film production. I, personally, like to give myself as much time to work with the actors as possible so once in a production I can concentrate on shooting the film. Below is the list of rehearsal techniques you may find useful.
There are many good books and websites on script writing so I am going to be very brief on that subject. And please do research your local bookstore or a library for the books on the subject.
Should I go to film school?
This is a question I get asked a lot these days, and answering it is far from easy. I've been to film school, but it doesn't mean that everyone else should. I went thinking I had no other option if I wanted to pursue a career in filmmaking. I didn't have any equipment, and since I'd spent all my money on tuition fees, I became stuck./p>
What do I need to make films?
To make a film the most important thing is to have the script or the idea for the film. Without that you will not be able to make anything, just imagine that script is the spine of your entire project.
Where do I find cast and crew?
The easiest way to find the cast and crew is to look online. At the moment there are many filmmaking websites, which are helpful in finding who you are looking for.