CAn't get a break

[Guest]

My only back-up plan was that I could teach film. It's still my back-up plan. It may be my retirement plan.

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That is a perfectly viable and reasonable back up plan, smart.

 

Although you won't get paid much dispensing your secrets for free on this forum :D

 

R.

[Laurent Andrieux]

I know what you're talking about David. Thing is I think I'll soon have to be looking for a C plan... any idea ?

[Guest]

I would suggest to you guys that you go into the stock footage business, but I don't need any more competition thanks.

 

My method does have some advantages, I now own one the largest privately held footage collections in the world on 35mm. Licensed by about 50 companies globally.

 

Last years license fees paid to me where in the hundreds of thousands of dollars, and as my library grows, so do my returns.

 

It's simple, do the work work once get paid for it over and over. Residual income.

 

But you didn't hear this from me, I don't want you guys doing this :D

 

Now back to my screenplay.

 

R.

[Jeremy Russell]

Someone said it earlier, and I don't think it can be stressed enough. You could 1st AC on 4 features a year, write 100 books on 1st AC'ing, but if you don't have a demo reel, you're probably not ever going to get hired to shoot something.

 

Your best bet to get a reel going is to: Pair with a director or a writer, and shoot some short films, and maybe most importantly, spec commercials. They'll at least let you break into the business in some form, and work in TV leads to work in movies.

 

You'll make it if you've got persistence, and brains. I know for a fact you've got one of them, the rest is up to you.

[not valid]

"It is not until fairly recently that people had this notion of being a DP without coming up the ranks."

 

Geez Kevin do you want to shock every film school student in the country?

 

Most of them are planning the decor for the mansion they'll be living in by 28.

 

Richard

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HAHAHAHA. Im a film student and all i plan for is work hahaha.

 

 

My only back-up plan was that I could teach film. It's still my back-up plan. It may be my retirement plan.

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I think that is a very wise choice David. As a matter of fact i will be teaching film before i start working in film. Ive been offored a job working in the school that im attending. The pay is 55$ AUS an hour starting at approx 7 hours a week which means i can put food on my plate while i build up my showreel.

 

 

I think Nor Domingo to be in the film industry you really have to be Entrepreneurial you cant just sit back and let people come to you because it wont happen unless your a Conrad Hall or Andrew Lesnie ( i bet they even had to look for work most of the time) I agree with all those people who said you need to work on short films and build your reel up. Try and get into highly acclaimed film schools. I think the most important thing you have to do is let everyone who you are interviewed for work by Know how passionate you are be happy to work as an AC or 2nd AC say to them how great it would be to work on this project. and finally ask lots of questions to your DOP make him know how passionate you are. I think you will find if everyone is on your side and thinks you are a great person to work with they will help you get to your role as a DOP or whatever you want in the film industry. IF you help people then they will help you.

 

With all that time you are being passionate, poop you might even forgot how crap being a second AC is.

[F Bulgarelli]

I think it could be interesting to ask ourselves why are some dps more succesful than others.

Many a people could master the craft of cinematography, learning all the technical aspects that involve getting a good image on film or any other medium.

What are the qualities of a good dp? From seeing the work of the people I admire, I would say in no specific order:

 

Imagination

Creativity

Innovation

Innate good eye

Humility

Intuitive

Quick thinker

Persistence

Friendliness

 

Any others...?

[Guest]

Ok adding onto your list....

 

Sleeping with the right people

 

Attending the right parties

 

Sleeping with the right people

 

Having family connections

 

Sleeping with the right people (did I mention this one?)

 

Having family money

 

Sharing a dorm room with a famous director

 

Saving a famous directors life

 

Any others?

 

R.

[Mark Allen]

Adding my two cents. I can't speak for anywhere other than Los Angeles, but here it is.

 

There are three things that are required to get work. And while I'm writing this about being a DP (from the perspective of a Director/Producer), it applies to almost any discipline.)

 

1) Talent

2) Connections

3) Personality

 

All three of them can be learned - but I think number 3 is hardest to change.

 

Breaking them down....

 

1) TALENT - Obviously this is required, but you also need to learn to have the ability to evaluate your own work. If you think everything you soot is amazing - you might need to work on that. This will grow. Be sure to experiement and discover your own style. Shoot project for free, shoot projects on your own just for your reel and experience. Then, when you have a) learned what looks good and B) learned how to create that... then you're ready for the next one. (By the way, this is why I don't really flower my reactions to people's reels when asked my opinion - that's damaging and slows growth in any art form.)

 

2) CONNECTIONS - Of course you start making these from day one... However... and this is something many people blow... don't go start showing your reel to people and pushing yourself until it's ready. And when you are ready - don't push it on the wrong people or you'll waste your time. The wrong person would be a studio director when you've only done a few shorts - the studio won't hire you, you need to do a few low budget features at least first. Do not, however, underestimate the power of "This guy came out of nowhere and wow!" I once asked an amazing artist why everything he did was so good and his reply was so obvious, "I never show the bad stuff." How do you get conections? If you're in LA and you have a solid reel - just start showing it to people and people know people who know people. Talent is a valued commodity. If your reel look like Khondji - you will be getting some meetings. Mentioning Khondji - I will add this... It is not a bad idea to show a variety of styles on your reel because people watching them have no imagination. They want to see what they are looking for on your reel so they feel like they know you can make this happen.

 

3) PERSONALITY - Once you get the meeting - you will click or you will not. The person Spielberg likes might not gel with what Coppola likes or whomever. The one thing I will say is that the ability listen and find solutions instead of problems - the ability to be positive and thoughtful in your approach - the ability to mange a team efficiently - these are things which help pretty much anyone.

Edited May 8, 2005 by Mark Douglas

[Phil Rhodes]

Hi,

 

I don't think it's about ability above a certain level. Certainly it's about having much more ability than I'll ever have, and it's always possible to improve, but I really don't think that beyond a point somewhere in the mid-budgeted TV movies it's much about what you're able to do. All the rest is luck and schmoozing.

 

Phil

[Stephen Williams]

Hi,

 

Certainly it's about having much more ability than I'll ever have,

 

Phil

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Phil,

 

I am sure you have plenty of ability. IMHO you need time to 'Crack Film', then more doors will open for you.

 

Cheers

 

Stephen