HD v. Super 16mm

[David Mullen ASC]

> In my opinion, I have already had propert production experiance to walk onto a set and say I know what Im doing.

 

I don't have that same level of confidence -- I'm always a bit scared whenever I start a production. And my fear has always been driving me to learn more and never assume I've got it down.

 

And there's a difference between saying you know what you are doing and actually knowing what you are doing. Don't let your self-confidence keep you from self-education and self-criticism. I remember when both Akira Kurosawa and David Lean hit their seventies near the end of their long careers, and said "I feel I'm just starting to get the hang of this."

 

I'm sorry to say this -- don't get me wrong -- but for a 16-year-old to be so sure that they can direct a professional-level feature is almost, well, laughable. Especially when you consider that no 16-year-old in history has done it yet. But certainly self-delusion is a quality that many first-time directors have in common; it sort of shields them from the hard reality that they really aren't qualified to direct a feature. But they do it anyway. And with enough luck, money, and support from others, they sometimes pull it off. But you never really hear about the failures, just the successes, which is why so many people feel so confident that they can do it.

 

The real question is "why the rush?" Wouldn't it be nice to reach an age where you have some life experiences to draw on as a filmmaker? How many teenager artists out there have anything worth saying to the world? Mozart is the only one that comes to mind. Certainly no one in filmmaking. Even Orson Welles was in his mid twenties. So was Spielberg.

 

Matty Rich is the only teenager to make a feature to get distribution and we all know how his career turned out. He even has a quote in the IMDB:

 

"The best way to learn how to make a movie is to just go do it."

 

I heard stories about his second feature (and last) from various crew members about how inexperienced he was. The studio ended up firing everyone around him because they couldn't really fire him. He shot all the rehearsals without getting focus marks, so the focus puller got fired. He ordered every take printed so the script supervisor was fired. And he hasn't directed another film since then, ten years later.

 

So clearly he didn't exactly learn how to make a movie by just doing it! Maybe he would have caught a clue by his third feature had he been given a chance. But by then, his youthful arrogance and self-promotion had annoyed too many people.

 

Just quoting from "Amadeus" when a supportive courtier explains why Mozart might not get the court appointment he seeks because he refuses to submit any samples of his works, because he doesn't believe anyone is qualified to judge it: "Mozart, a little humility might suit you better..."

[Matt Pacini]

"...Nor does Experiance."

 

Strange how you never hear this type of saying come from someone WITH experience, so clearly those who have experience realize how valuable it really is.

 

And I'm not sure where you get the idea there's lots and lots of inexperienced directors getting hired to make successful features.

And many people have films listed as their "first" film, because they would rather people not know about their "real" first films.

M. Night Shyamalan made two features before Sixth Sense, for instance.

 

(By the way, Mozart, in his teens, already had about a decade of experience, since he started composing at about age 5-6, and it didn't hurt that his dad was an accomplished composer and taught him from day one.)

 

There's a huge difference between blind misguided optimism, and confidence/determination.

They appear the same to those with little or no experience, and those of us who are cautioning you, have already made the mistakes you're bragging about having the balls to make, and wish we'd taken a different approach.

All the bravado in the world isn't going to make up for the lack of a brilliant script.

Do you have a brilliant script, or just a bunch of "wow, wouldn't it be cool if..." ideas?

 

Matt "been there, done that, and regretted it later" Pacini

[Nitin Sagar]

Strange how you never hear this type of saying come from someone WITH experience, so clearly those who have experience realize how valuable it really is.

age still might not be a criteria but life experience is a must. at 28 i have coproduced and shot my first feature.....i started working at 16......at 16 i did not know my face from my A**....but at 16 if someone has the desire drive and resources to make "a film"...go ahead.....at worst one can fail...just in case that happens...get up and start over...nothing succeeeeesseeeed's as succeeeeeees..

 

all of us here are "here" to do things that makes us "happy"

[Landon D. Parks]

I'm sorry to say this -- don't get me wrong -- but for a 16-year-old to be so sure that they can direct a professional-level feature is almost, well, laughable. Especially when you consider that no 16-year-old in history has done it yet.

Here we go again with the age thing. why is this what people seem to get stuck on. well, you know what. Theres a first for everything.

 

I may be 16. but I dont think that should be laughable. And also. Im not SURE of anything. Once I do somthing, then Im sure of it.

 

What is it that I cant do that you can?

 

> I can sign contracts (If I want to).

> I know how to Direct Actors.

> I can come up wth $500,000.00

> I can work 16 hours a day.

> I can work on 3 hours sleep.

> I HAVE a Vision.

> I can work 7 days a week.

> I can work in prinicple photography for 100 days Straight.

> I can handle rejection.

> I can write a screenplay.

> I am reliable. I have not been late for a shoot yet.

> People take me seriuose, all the actors I have worked with have so fare.

> No one has laughed at me yet.

 

Am I missing somthing here? IF so. I'll probably be able to add that too.

 

So again, I will tell you the reason why no 16 y.o has made it before. Becuase they dont have money.

 

Money is what will make you film, not you. If you have $500,000 then your set. ALL 99.999% of 16 y.o have access to is there allowance. and no one is willing to give them a loan

 

That does not mean they cant do it, it means they dont have the money. I just so happen to be able to get that money.

 

Which makes the differnece.

 

I would like it to be treated like im just as capable as anyone else.

[Matthew McDermott]

Here we go again with the age thing. Why is this what people seem to get stuck on.

Landon, I hear what you're saying but frankly you're going up against a lot of societal bias and precedence. Not to mention the biological fact that there is a difference in mindset (reasoning ability, ability to make ethical assessments) in someone that is 16 and someone that is 25, 35, 45..what have you.

 

I thought like you when I was 16. I thought society was giving teenagers a bum wrap, that there was no difference between myself and someone with more experience or age. Now I'm 30 and in the simpliest terms: I was wrong. The average 16 year old, despite thinking they know what they're doing, does not have the life experience that they think they do. How many relationships have you gone through? How many times has someone cheated on you or you cheated on them? How many close relatives have died? How many siblings or friends have you sat through coping with alcoholism or drug addiction? How many times have you been short on rent and had to sell half your CD collection or throw a rent party to get by? How many car accidents have you got in? How many countries have you visited? How many productions have you been on where everything goes wrong with the weather, the light, the actors, but you've got to pull something out of it? Directing and writing, much more than cinematography relies on life experience. It relies on empathy. The only way to get that experience is though actually living; there is no substitute.

 

This is not to say that you don't have a great script and won't be able to pull it off, or the financial wherewithall to make it happen, but to discredit the need for experience and maturity in being a good artist and filmmaker simply sounds like inexperience and a lack of maturity.

 

 

I can work 16 hours a day... I can work on 3 hours sleep...

 

I too can work 16 hours a day but after doing it a few times you don't advertise this fact. You want to get home to your friends, your girlfriend, your family. Not that you aren't so committed to filmmaking that it keeps you up at night think about how you're going to light your set-ups the next day, but eventually you learn that there is more to life than this. And you learn that there's no point in doing days this long because creativity, safety and ultimately the production as a whole suffers when working such long days. Even on a twelve hour day, the last hour is bit hazy.

 

I too can work on 3 hours of sleep, but again, creativity and safety suffer. In fact working on that little sleep--especially after working a 16 hour day beforehand--is just as bad as being totally drunk on the set.

 

The experience you'll gain after making your crew do this more than one day is that they'll either a) all quit, b ) work so slowly due to lack of sleep that everything begins grinding to a halt, or c) you'll end up spending a ton of money on overtime. The end result is that no one with any experience or degree of professionalism will want to work with you and your shoot will turn into a nightmare that everyone talks about in bars over drinks, accompanied by the phrase "I don't ever want to work with him again". Need I say, you don't want this to happen.

 

 

Money is what will make your film, not you.

 

Money may bring everyone to the set on time but ultimately you do have to make your film.

[Phil Rhodes]

Hi,

 

> > I can work 16 hours a day.

> I can work on 3 hours sleep.

 

So can I, but on the third day you will be a fairly useless human being.

 

I do a lot of work around music concert/club lighting people who love to boast about this kind of thing. It's a complete switchoff to me as I'm fully aware what worthless, grouchy losers they tend to be on the third day of it, and how poor their work is.

 

Phil

[Jo Laurits Aksdal]

If you can pull this off it'll be fantastic. But as you can probably (?) detect from all these replies some good old down to earth humility won't do you any harm. That's just the way it goes.

 

Well, I'm off now. Have just read the jumbo jet manuel and am about to hand in an application to my local aviator. I am going to fly that thing baby!

[Elhanan Matos]

And why is it so Creazy for a 16 y.o to make a feature?

 

Experience.

 

 

Experience is everything. You need experience to know what to do when something goes wrong... and they will go wrong, they always do. Especially if you dont like to plan every little detail out.

 

As far as your age, 16 is young. And I'm not going to say that you should just give up, but whats your rush? Why rush into something that you have not done before? Take baby steps, and save your money.

 

Oh and about your 16 hour days... Try a 26 hour day, then see how you like them. You shouldn't ever make anyone work for more than 12 hours. Dont be proud of making people work those kinds of hours.

[GeorgeSelinsky]

Hi Landon,

 

I'm 28 years old right now and I'm directing a 35mm feature film while DP'ing and doing everything else save for the art direction. When I was your age I thought I could pull off a 3 hour feature film. I started writing a script and I bought up a whole bunch of cheap 16mm B&W reversal film when I was visiting the USSR for that purpose. Needless to say I realized soon enough that I was a little over optimistic. But the footage that I started shooting I was able to cut into the reel that I gave to NYU filmschool for admission, and it was actually pretty nice.

 

When I was 16 I thought I could make a great film and do it all by my little old self, amazing the hell out of everyone. I realize now, being 28, why even if I could get the money I wouldn't be able to pull it off. As people have already mentioned, as a director you have to have a certain level of life experience to direct actors. It's tough enough for a director my age to get respect from more older actors sometimes (I've been fortunate enough not to have that problem - but believe me it happens), imagine what it's going to be like for a 16 year old. The message is "What the hell do you know about life, kid? Why should I trust your judgement, why should I respect you as a professional?" I've seen it happen, believe me.

 

The next issue is stress management. I have thousands and thousands of dollars and many people and property that I'm in charge of. What happens when something goes bust on you? What happens if you get sued suddenly (and it can happen for the silliest reasons, i.e. one of your less experienced assistants tries to change a burnt out quartz bulb without hand protection, not realizing it's hot enough to light a cigarrette off of)? What happens when someone screws you and you have to take them to court? What happens when a crew member gets pissed off at another crew member (and not for any professional reason sometimes either, what if one stole the other's girlfriend?), how do you deal with it? These things happen all the time. Furthermore, do you know how much extra stress it is to be a DP and a director at the same time? I do, and I really don't think I want to go through it again if I could help it.

 

Last, how the heck are you going to gather hundreds of thousands of dollars? People can sometimes promise you the moon, but there's a big difference between thinking you have the money and actually having it sit in an escrow account. Why should an investor take faith in you? Film is a very high risk business, it's tough enough for directors that even have a track record to land money for their film. If they're lucky they'll get a negative pickup deal, which is something to borrow against, but you aren't going to get one at this stage of the game because you have no track record. People with a lot of money are wise in where they put it, that's one of the reasons why they're rich to begin with. They're not going to get a charitable writeoff if your film bombs, and with your track record and particularly your age, you are by all definitions a bad business bet. The only way I see you getting the bucks is if they have a personal relationship with you and really don't care if they loose the money. Otherwise you can forget about it.

 

You can take or leave the advice we give you. If you're as capable and intelligent as you say, you should be above all a PRACTICAL individual. If you see that all these well meaning folks (and believe me, I know some of the people who are writing to you and they are VERY well intentioned and helpful people who wouldn't think twice about helping you out on this forum) who have experience and a track record saying this to you, it's probably a good bet that they're right. Intelligent business people have advisors whom they trust, think of us here that way. It took David a lot of industry experience to get into the ASC, for example - so you can see whom you're dealing with here.

 

Good luck in making your own films, it's lots of fun. Just don't bite off more than you can chew. There's no prize for making feature length films shot on this or that format. There are prizes for making GOOD films, even if they're 5 minutes long.

 

- G.

[Landon D. Parks]

Ok, I am going to try to explain anything here. As I know what you are offering is adivce, and after reading it all, It is some VERY good advice.

 

But yet again, I thank you for you concerns that I can't handle it. But I can. I may not do it right, I may mess up all the time. Who knows until you try somthing?

 

I may end up getting sued for $10,000,000.00. But you know what? The world could end tomorrow, I could get Cancer, I could die Tomorrow. But i'm not going to sit around and worry about it to the point where it scares me to live.

 

Thats the way I see filmmaking. I am fearless in a way a lot of 6 y.o are not.

And I am also one that once I get set on doing somthing, Not to many people can convince me otherwise.

 

I understand you all just want to help.

 

you know, I know where you coming from. I got many 16 y.o and 17 y.o friends. and 99% of them act like it.

 

I just dont see the filmmaking process as being as hard as some people make it out to be.

 

I guess I may have to learn the hard way, But learning the easy way is not always the best way.

 

I may mess up a lot, but that will just add to the experiance later in life. If you play it safe till you big moment, then somthing goes wronge, How will you handle it because you have never had to deal with it before.

 

Again, I don't look to be agreed with here. If you think I can't handle it, Fine. Maybee I can't, maybee I can.

 

We will just have to see.

 

When I was 16 I thought I could make a great film and do it all by my little old self, amazing the hell out of everyone. I realize now, being 28, why even if I could get the money I wouldn't be able to pull it off.

did you try to make your film at 16? Or did you just say "I cant do it, so Im not going to"?

 

you don't know the outcome to somthing until you do it.

 

Also, I would never try to pull off a feature film with no crew. That is just setting yourself up for a fall. You CAN do some things, but you can't do everything.

 

as a director you have to have a certain level of life experience to direct actors.

I think 16 years of life is enough experiance to Direct actors. What takes life experiance in it? You read the script, You plan the scene in your head, and you tell the actors how the scene plans out. And then you work with with them as much as possible to get it the way it works best.

 

Now, if you want to sit around and talk about how your mom died when you where 9, and you got a girl knocked up at 14, and try to make everyone feel sorry for you, then yeah, life experiance may help.

 

But I dont see bringing my personal life into the film.

 

Ok, I think I'v explained the most important ones. But again, Im not here to tell you I know how its done.

 

Im here to say, ok, look, This is how I see it. Now I may see it wronge, but that does not mean I'm trying to say I know it all.

 

There is no right way to make a movie, nor is there a Wronge way. You make the movie the best you can, and hope it turns out ok in the end.

 

No, Filmmaking is NOT easy by any means, And I understand this very well. But I just don't think its the hardest think I'v ever done.

 

Please don't attak me, and tell me im wronge. I know I am not right on everything. And I'm not trying to be either.

 

This is just the way I think a Film should be made. And I probably am not right at all. But we will just have to see if it works for me.

 

Thanks for all the advice friends! I will keep it, and will use it.

[Keith Mottram]

I've been resisting adding my ten pence to this forum, but hell I cant help it. Landon, be honest this is some very obscure practical joke isn't it? I've been enjoying it but it's gone on far enough. On the plus side after telling colleagues about your postings I have managed to introduce a lot of other professionals to the site.

 

If you are for real, which I doubt (Chris Columbus was a nice touch, that made me laugh out loud), then you are getting the kind of advice that I?d have dreamed of at your age. I think that George said it best when he said you expect comments like, "What the hell do you know about life, kid? Why should I trust your judgment, why should I respect you as a professional?". You will come up against this even if you are a complete genius. This is a fact. I myself came up against a very similar line when I was shooting a medium budget drama in my early twenties. By this time I?d been around the world, been drunk, doped out of my eyeballs, screwed around, arrested a few times and had the misfortune to have close people and family die- and I am not proud of these facts, but I figured that these gave me a little amount of life experience to reflect on. But to be honest I still don?t feel I know much about life (I?m only 29 and have been working since in the industry since 16) and this is a legitimate question. If an older actor screams it at you thirteen hours into your thirteenth day of shooting, what?s your answer? ?I?m mature for my age? or ?this is only a film lets have some fun? or maybe ?but it works on my storyboard?. Trust me they?ll walk, along with half your crew.

 

And why rush into making films? Why not enjoy being young. Make films yes, but at the expense of the experiences life can offer you at your age? At the moment you can get away with things that in your later life you will only be able to dream of.

 

Landon, I implore you go out and have some fun, lose yourself, get laid, travel, get arrested. Those life experiences will enable you to earn respect- filmmaking happens as much off as on set. I don?t know how it works over the pond, but I would hardly be working if I couldn?t make a meeting and tell a story in a pub or bar.

 

But most of all your energy and your misguided attitude is right- filmmaking should be fun, but, and this is a big but- it is also a job and a means to pay for children to go through school, put food on the table etc.

 

It will also never be ?fun? unless every person on set can trust each other and feel to a certain extent like equals.

 

Keep your dreams, Landon and I apologise if at any point I come across as patronising.

 

Keith

 

P.S. I?m extremely dyslexic, so I use a spell check. It?s really no that difficult to use.

[Josh Hill]

You know, I see a pattern here since I've been keeping tabs on some of your posts in the last few days, Landon. Basically you tell everyone here your huge grandiose plan for making a feature, getting name actors to appear in it, having a budget higher than most other independent features that are produced, having it theatrically release, and being successful your first run out. Then everyone criticises you for being a naive 16 year old. An argument ensues. Everyone gets frustrated, then you post telling everyone how it is "good advice" but then, in the nicest way possible, you go about telling everyone to kiss your ass you know what you're doing, quit underestimating you, you are qualified to direct a feature, you have your life experience.

 

The truth is, you probably don't have the life experience you think you do. Granted, we all gain our experience in snatches, here and there, and we all have different experiences. But I'm twenty years old, only four years older than you, and I look back at the things I did a year ago. The way I acted a year ago. The way I thought a year ago and think "What was I thinking?" Why? Because I have gone through so much in that one year, I am a totally different person.

 

What have you really experienced in your life, other than what appears to be a lot of privilege? Everyone here tells you that you need more experience on set, and more experience in life. You tell them they're wrong (and there's not an 'e' at the end of wrong by the way). How do you know they're wrong? You don't have the experience to be able to say one way or the other.

 

Lots of us have good ideas. I have a good script that people tell me is good. Why am I not out getting money for it? Because I know it can be better. I've spent the last three years developing it, writing it. Letting it settle. Letting it stew in my mind, and then rewriting it. And you know what? Each draft gets better. Why? Because in the time I let it set and stew I grow as a person through my experiences.

 

This bravado that you throw around in the forum is your hubris, your tragic flaw. I can think of only a few people in the history of film who have gotten away with it, Orson Welles is one. You know who you're not? You're not Orson Welles, because before he made his first feature he was already an acclaimed actor, and acclaimed theatre director, an acclaimed radio personality. Sure, he was in his twenties, but he was also a prodigy. But look what happened to him. He went from being a brilliant prodigy to a washed up hack very quickly. Someone told me (Duane Whitaker, actually, from Pulp Fiction and Eddie Presley, a writer and independent filmmaker in his own right) that he worked at MGM for a time and Orson Welles would come in begging to use editing equipment just for one day. Orson Welles, begging a studio.

 

As for being sued, if you are not emancipated you won't be sued. Your parents will be sued. Most likely whoever is signing your contracts will be sued. And you'll probably lose, because you're an easy target. A 16 year old kid waving around hundreds of thousands of dollars?

 

You think you're creative now? You think you're in control now? Wait four or five more years and then see how creative and in control you are. Its amazing what happens just between 16 and 20. What about 16 and 30? 16 and 40?

 

I think 16 years of life is enough experiance to Direct actors. What takes life experiance in it? You read the script, You plan the scene in your head, and you tell the actors how the scene plans out. And then you work with with them as much as possible to get it the way it works best.

 

Now, if you want to sit around and talk about how your mom died when you where 9, and you got a girl knocked up at 14, and try to make everyone feel sorry for you, then yeah, life experiance may help.

 

But I dont see bringing my personal life into the film.

 

This alone shows that you don't know how to really direct actors. What takes life experience in it? THE WHOLE PROCESS. Just working with an actor take life experience as it is. How to word things, how to direct them without condescending THEIR craft. How to give them the creativity they yearn for in their acting, while keeping your creative control over the movie. How to not dismiss their ideas. How to be diplomatic and how to respect their process. That all comes from life experience. How to compromise. You're going to be dealing with people who are putting their souls up for the camera. And actors are ruthless, and they will decide right away if you know what you're talking about or you don't, and you'll never really know what that decision is. Trust me, I'm an actor, I know.

 

And the fact that you said "I don't see bringing my personal life into this film." pretty much proves that you shouldn't be making it. If you can sit back and look at this film objectively, and not bring your emotions and experiences into play what is the point? Artists put their lives into their work. Jackson Pollock put his life on his canvases. Martin Scorsese put his life experiences on the street into his films. Thats what art is. Art is life, and if you don't put your life into the film, who will?

 

I think everyone here will agree with that. Anyone who is doing something creative is putting all kinds of personal stuff into it. Even the silliest scripts have some part of their writer in them. Even the goofiest movies have some part of their director in them.

 

If people didn't put their personal lives into things there would not be "Director's Depression." It is a clinical condition that happens after productions (it doesn't necessarily affect only directors). The production ends and it is like your life is over because of the intense personal relationship you have had with the production. I have it when I finish up a production as an actor, because of the intense personal investment given to the production.

 

Thanks for all the advice friends! I will keep it, and will use it.

 

But thats a lie. You are trying to be cordial in signing off but the entire post was about how you don't need experience, or how everyone underestimates you. If you were going to use that advice the post would have been much different.

 

If you go on with producing something for 400,000 dollars while you are sixteen years old you run a bigger risk of setting yourself up for disappointment. But not only that, you are setting yourself up for the possibility of ruining your career for the rest of your life. But then, a much smaller chance, is that you will be successful.

 

If you shoot your film, I wish you all the luck in the world and I hope you certainly make something out of it. But take a look around you. There's a reason people your age (or even my age) aren't at the forefront of the industry. There's a reason we are not running the world. Its because we lack the experience. We are not at our creative apexes yet.

 

You want to see what making a movie can turn into? Watch Lost In La Mancha. Terry Gilliam, who I think is a brilliant filmmaker and who does his work quite independently of the studio system, shows you how personal a movie should be to the director. The look on his face in pre-production, when he sees the locations or the suits or the giants. The smile and the twinkle in his eyes as they roll film. And then the heartbreak and sadness as everything falls apart. Him disappearing into the storm that washes away his equipment, and when he comes back you can see that he knows it is over. But he presses on. And when he later talks about how the movie went wrong, you can see the overwhelming sadness in him.

 

Be practical. Take the advice these people, who have years of experience, have given you. Save yourself the trouble and the heartbreak if everything falls apart. Don't jeopardize a future career. Go to film school, make some student films, work professionally for a while. But don't jump right into it

 

One good thing about posting this. I got to watch the sunrise as I did. I don't even know if anything there is useful or legible, because I've been without sleep for a long time. Take it for what its worth. I don't know.

[Josh Hill]

and had the misfortune to have close people and family die- and I am not proud of these facts, but I figured that these gave me a little amount of life experience to reflect on.

 

I agree with that part. I had never experience loss until this last year when both my great-grandfather and my father died. It was horrible, and I still cry over both of them. There's not a day goes by that I don't think of them. But their deaths have helped me feel things that I have never felt before, and for the first time I can honestly say that I can finally sympathize with people who have experience those kinds of losses. I could never do that before.

 

At the same time, in the death of my father, I got to experience something many people will never get to know. I got to cover my father's grave a shovelful at a time. It was a wonderful experience that I'm glad I got to have (my father was a biker and so the funeral was extremely interesting, including bared breasts, drugs, drunkeness, rock music, harleys, people humping the grave, and two hundred other things).

 

Those two things have drastically shaped the person I am today, and the person I will be in twenty years from now. They taught me more about myself than I could ever imagine.

 

Sorry, you just reminded me of that. Thought I'd share.

[Landon D. Parks]

I think people have it in there mind that if your 16, you CAN'T make a succesful feature.

 

Well, I just wish people would Actually WAIT and see if a 16 y.o can or can't.

 

What proof do you have a 16 y.o can't make a movie? No other 16 y.o have tried I don't think.

 

Can;t we just wait and see what I can do? I'll post a Trailer when I'm done. And I'll send FREE DVD copies to anyone who wants them.

 

I'll also have a Behind the scenes program so you can see how I make a film.

 

So, we'll just see if Im setting myself up for a fall, or if Im actually Smarter than most of you think.

 

Till Later guys,

Landon

[GeorgeSelinsky]

So, we'll just see if Im setting myself up for a fall, or if Im actually Smarter than most of you think.

Smarts is only a part of the package, bro.

 

I say go ahead if you want, by all means try to raise the sum of money you wish and make the script of your choice. I doubt you'd walk away with a sum of money even close to what you want to raise, I can't see a single financer, even a financially savvy rich uncle, who'd trust you with such a sum.

 

The reason we've all been spending our time to share this with you is to save YOU the time agony of getting into trouble. It seems that nothing we've said has had any real effect on you, so I'd say it's time we shut up and you do whatever it is you want.

 

Sometimes you have to learn by your mistakes and I feel that's what you're about to do. Especially given the attitude you have in your posts I see it coming. Someone who is going to succeed is more careful, more patient, more attentive and respectful to the advice of the experienced.

 

If you'd said that you've decided to make a short managable film, on whatever format it is, and see if you can get in into a few good film festivals and take home an accolade - and then try to make your opus, you'd have somewhat of a chance.

 

Back at NYU we were given a semester (September-December or January-April) to make five short B&W films, three without sound. The pace of work was so hectic that kids wouldn't know what the hell do make a film about, yet some of the films were smashingly awesome. Go buy yourself a Bolex or a K-3, get some B&W reversal film, and see if you can cream these 18-20 year olds first - make five smashingly good short B&W films, using non-sync or like some did, cheezy post sync sound. Get it into a film festival and take home an award. Then go ahead and amaze us with a feature. If you're as smart and mature as you say you are, you'll realize the value of such a test, and if you're talented enough to succeed at what you intend to do, then this test should only prove it to your investors and everyone else - that you're a real prodigy.

 

- G.

[Landon D. Parks]

P.S) I have Produced, Directed, 1st Assistant Directed and Production Co - Ordinated a lot of Plays for both school and the local theater group.

 

I am no newbie to working with actors of ALL ages. young and old. I have also worked with large crews on the productions.

 

I would say the hardest job I have had was 1st Assistant Directer on 3 plays. Which I was pretty much in charge of keeping everyone in line, and being sure things when smooth.

 

On one of these Production, I had to keep 200 actors and crew members in line. Now that is an undertaking. (I did have a 2nd AD, and a 2nd 2nd AD also to help)

 

The Directed was the easy job for me.

[Landon D. Parks]

Also, I was not wanting $3 million dollars from just going out and making a movie. That was if I had a few name stars and a REALLY good story that people would want to see.

 

Hell, if Studios will give $1 million to 3 kids that go out with a Hi8 camera andn act like a witch is chasing them, Then I know my film with Nice Dolly and crane moves, and tallented actors would have to get me somthing in return.

 

I guess, But again, I dont know.

[Landon D. Parks]

You know, I have been reading through all my post's. I think I sound like im someone with a lot of dreams and no way to bring them to life.

 

Thats not bad, just interesting.

[John Pytlak RIP]

You know, I have been reading through all my post's. I think I sound like im someone with a lot of dreams and no way to bring them to life.

 

You can achieve your dreams by taking one step at a time, and learning from the experience of others. With a mix of skill, luck, and determination, you will get there.

[Sam Wells]

You know, I have been reading through all my post's. I think I sound like im someone with a lot of dreams and no way to bring them to life.

Why you say that ?

 

If you have a camera, film, and light you can make a film.

 

Film *by its very nature* is a dream space brought to life. Forget all this showbiz poop for the moment.

 

Make a moving image.

 

-Sam

[GeorgeSelinsky]

One of the greatest things you can do at your age, which makes me wish I was around your age again sometimes, is the ability to go out there and pretty much do whatever the heck you want. It gets harder when you are older to do that, because once you enter the film BUSINESS you will see that you have on one side more possibilities, on the other end more limitations.

 

Take a camera, any camera, and shot lots of film or tape. Do funky stuff, experiment, have fun, at the same time try to perfect your craft as much as possible. Get those kids that you worked with in the play to help you out. THAT is THE best use of your time right now, and believe me, it will be much more enjoyable than what you intend to do now.

 

Even if it was possible for you, would you want to be involved in raising and managing large sums of money and handling investors? It's a lot of work for me, and I've been around before. It's a lot of work for anyone, even an experienced producer. That's in addition to the creative/artistic issues of writing, directing, producing, and shooting a feature length project that is to be of any decent quality.

 

Right now enjoy the art for what it is. Get yourself a Bolex, save up to pay for the film and processing (or just grab any old video camera) and concentrate on the art and the craft. Save the business end for later in life, when you can manage it. Believe me, you won't regret that you left that part of filmmaking for your later years - I certainly don't. I thank God that as a 16 year old, after the first two days of shooting my 3 hour epic, I woke up. At least I could use the footage for later, that was good.

 

- G.

[Matt Wells]

I often think to myself:

 

I wish all my problems had happened when I was a teenager, and knew everything! :lol:

[Landon D. Parks]

Chris Columbus was a nice touch, that made me laugh out loud

Why? :unsure: He is a cool guy!

[Felipe Perez-Burchard]

I may end up getting sued for $10,000,000.00. But you know what? The world could end tomorrow, I could get Cancer, I could die Tomorrow. But i'm not going to sit around and worry about it to the point where it scares me to live.

 

Here's an analogy, it's not meant as an attack by any means...

I'm sure at 16 when you were in school you had the standard "don't drink and drive" , "have safe sex"... and I'm sure your mature enough to be responsible about these things...

Well the way I see it, putting yourself on the line to getting your family sued for 10million, going into a first feature project especially without being over prepared is IRRESPONSABLE.

 

But I'm the guy that in my senior year, my final quarter at that of film school tells everyone, go above and beyond any silly class requirements, make a movie, not a grade, follow your gut... so I'm not someone to crush your dreams. You do what you've gotta do. Just remember it's not just about you, everyone around you will be investing their time, sweat and passion; you've gotta make sure that is not wasted; you gotta make sure it comes out right.

 

Another thing is that you can't say you wont sell your film for less than 3 million if you have name actors; that is not a guarantee, be flexible on that (the voice of a big name actor was a major part of a film I did around the middle of my school term, that didnt open any doors for the film). The only thing you can be certain about is that things change and you have to anticipate and problem solve.

 

If I was given the chance for such a huge inverstment, with so much riding on it, I'd probably shoot a short version if of it anyway (or of select scenes) just to prepare, to try out some ideas.

And when I'm doing a project, I miss this site, cause I don't have time to come here, you seem to have some time available to you despite how "you could be doing more valuable things" or something like that I remember you said.

 

So despite the advice given by experienced people here, your gonna do your film, I still think its irresponsable with that much money [why not shoot a smaller budgeted project first; a collegue of mine shot a 35mm feature for 20,000 all student crew, then a HD feature for 5,000 and now he is going to do a 16mm 20,000 one so its possible *this is of course w/o finishing on film or any kind of distribution] so, all I can say is Good Luck.

 

Please do send us a copy of the film down the line.

 

-felipe.

[Alvin Pingol]

I guess, But again, I dont know.

If you're guessing, and you don't know, then I suppose what you said immediately before that,

Hell, if Studios will give $1 million to 3 kids that go out with a Hi8 camera andn act like a witch is chasing them, Then I know my film with Nice Dolly and crane moves, and tallented actors would have to get me somthing in return

is nonsense.

 

I feel it is statements like these that cause problems, because in the film industry, you know nothing. Times change, people change, and as soon as you even think you've figured out the system, another variable is thrown into the mix. Saying that you know you'll get something in return from the studios, based off of a Blair Witch comparison, shows that the main thing (perhaps the only thing) you believe makes a movie successful is its photography (or "nice dolly and crane moves," in your case) and talented actors.

 

Blair Witch was popular because ( a ) it really got people scared, and ( b ) it was unique. Most people had never really seen a horror film done that way before. The studios didn't just give a million dollars to the three kids. They saw that this film had potential, and they knew it would generate a lot of buzz. They saw profits, and thus the film was sold.

 

A studio wont buy a film just because it has nice camera movements or good actors. If they feel it wont bring in the cash, it'll be passed up and they will never look back.

 

But either way, I still wish you the best of luck. I don't think anyone here is telling you not to go on and make your film. I certainly don't want you to give up at this stage, it seems you've already put a considerable amount of planning into it. I just think that you cannot assume anything. Don't assume that good things will happen to your film after its completion. Don't assume that you'll be successful just because some kids in a forest with a couple cameras were.

 

Just go out there. Make films. Try to market them. No use talking about how successful you're going to be, right? ;)