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Which these way is less difficult to become a director ?


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'Zactly. Even though there is a lack of good scripts.

 

Personally, I think the lack of good scripts is a function of writers trying to work in a vacuum, not lack of ability on the writers' part. With a producer saying, "this is what I can sell," and a director saying, "this is what I can direct," the writers now have a framework to do their magic within. The very best writing that I see here at work comes from writing to fill a need, not writing for the sake of writing. Searching for a good, produceable spec script is likely to be a painful process, but working with a writer to create something produceable is not only feasible, it's (I think) the best way to work.

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Look, trying to make a living (meaning: paid real money) to create "art" in any way is a lottery situation. You might become lucky enough that your "vision" :rolleyes: is recognized as profitable while you're alive so that you can not only reap the benefits of it in addition to spending your life doing the job you want to do... or your "art" may only be appreciated after your dead, which is what happens more often to painters and sculptors.

 

Making movies is one of those things that it entirely unnecessarily to survival. If you're in a business having to do with shelter, healthcare, food, and clothing, chances are that you'll find a way to create a viable living (read: money for survival). Anything else in life is bonus material. What that means is that the world doesn't really NEED a supply of starving artists just needing to tell their stories. We don't NEED theater or films or tv or cartoons or anything else that falls under "entertainment."

 

So, to "become" a Director first takes the realization that the job itself is entirely unnecessary to the survival of humanity and thus nobody really needs that job to exist. We need farmers and textile workers. Society doesn't need a whiny "auteur" who has his "story to tell." (and by the way, there is no such thing as a film autuer)

 

 

With that in mind, start building your career as early as possible. Start making movies and PROVE that you are talented both creatively and logistically. Investors want to make money off of your "art," so it's your job to PROVE that you are capable of providing a PRODUCT that can earn back the initial investment PLUS a profit. It's the difference between being a "starving" artist for your "art" and having a life filled with making movies and enjoying the profitable lifestyle that can come with it.

 

The saying goes, principles are for people with nothing to lose. So if "art" is more important to you than living a comfortable life, then by all means, live in a two-bit apartment and scrape for the money it takes to direct a film that means something only to you. You might get lucky and someone (an investor) might see genius in your work and then financial success might come. Or not.

 

Point is, there's no way to tell. There's no "one way" to do this. Art is not necessary for human survival so you have to go do what you want to do with NO expectations for financial gain from it. If that's what you're after, you'll have to give a little on your own "artistic integrity" from time to time to deliver the product that the corporation asks for. Is that necessarily "bad"? No. It shouldn't be. You get to "direct" for a living and the audience is entertained after they've put in their forty hours of widget-making. They're entertained. You make money. The investors make money. You're doing the job you want to do for a career. Everyone is happy. :)

 

The punchline? Go direct anything. Make projects happen. Don't wait for someone else to "let you" direct something. They won't. When you make things happen, then you'll have the satisfaction of having directing AND a body of work to show others. Then MAYBE you MIGHT get lucky enough to have someone important (read: financier) notice you and your work and MAYBE you may get the chance to do that job for serious money. Or not. You could spend your entire life doing odd jobs to make money so that you can make movies that only your closest family and friends enjoy.

 

Just be prepared for both possibilities. That's life in the biz.

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Beginning as AD or writer-director ?

 

So, I've an impression and I see there is a current for who is joining in the industry as writer-director, the person wrote a good script and talk to some agents and the producer may guarantee to him the role as film director of his script. (I think, maybe) some thought of a producer or company like "the man has an good idea and a script well wrote for we earn money, we bought the script license and if it wish direct and has been showing to us his creativity, that it also has good knowledge about how all works even it never had directed some feature film before, Ok, no problem, it'll direct and will has support of others professionals." Or the dude can make some like a short-film just like James Wan made in Saw and maybe become easier his guarantee in direction if really the company was determined to make that film.

 

But someone begins as AD looks harder, I don't know, the AD is in charge of planning filming days, coordinating the equipments in the location, taking care of figurantes (seems a little technical, uneventful, not so different in most of his films). So, if one day, one day... a producer looks to him differently, it may be invited to direct a script of another person.

 

And mainly, It's very rare to see on IMDb directors credited ever in his life as AD before.

 

I would like anyone criticize If I've made mistakes through of a point of view mine that is different in the industry and post his opinion about the question Which these way is less difficult to become a director ? Beginning as AD or writer-director ?

 

Thanks so much for the attention reading my question and sorry for my english.

Easiest way is to have money. But to stay in the game you also need talent to coordinate and spot other talent that can help you in your effort to produce and direct the film you want.

 

In short, shoot it yourself. There's more to it than that, but as others have mentioned starting out as a PA, graduating to say a grip or production designer is really leading you to a support niche.

 

GL.

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Society doesn't need a whiny "auteur" who has his "story to tell." (and by the way, there is no such thing as a film autuer)

 

Pardon me, I'll rephrase my sentence:

Absolutely. Still, there's some great autheur films.
to: "Absolutely. Still, there's some great WRITER-DIRECTORS."

 

I doubt Jim Jarmusch is a "whiny autheur who has his story to tell". I know what you mean, "there's no such thing as an "autheur film", filmmaking is team work, but you also knew what I meant when I wrote "autheur films".

Edited by Jorge Espinosa
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filmmaking is team work, but you also knew what I meant when I wrote "autheur films".

 

No, sorry, I didn't know what you meant. There are too many people out there who truly believe that "a film by" credit actually means that it's a film by. I take words at face-value. :) But thanks for clarifying!

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  • 1 month later...

Adding my 2 c's

 

The correct answer to the original question is that there is really no "better way" to break into directing. It's whatever way accomplishes your goals and is best suited to your individual situation.

 

You have to ask yourself what you want to do and where you want to end up. If you are shooting for Hollywood, you will be someone's employee. Nothing wrong with that, you can make some very good money there. But you're going to be doing work TO ORDER. Someone is going to tell you how to make a film, and you will listen. If you eventually become very successful, and you have a great attorney, they'll give you final cut. But that takes a lot of effort working in that system.

 

If you want to make an independent film, you will have some more flexibility. But only some more, because in the end, anyone who gives you money is a business partner. If their opinion isn't allowed, they are not going to deal with you. If you work with an indie producer, you should choose someone who supports your vision and won't get in your way.

 

My advice - if you really want to be a successful director, aside from doing what every director should do (make a number of short films, watch lots of films, read about directors, etc), and writer should do (do lots of reading, write short scripts, get your work critiqued) - go get an MBA. You will be surprised how many business school concepts apply to filmmaking. Aside from acquiring good management skills, finance skills, marketing skills, etc., you'll have a great degree that will get you a good job if you decide film is not for you in the end. Unlike with an independent first time film, you'll be able to take out a loan to pay your tuition and will be able to return your money on that loan relatively quickly. To top it off, you'll also make some well to do friends who might be your future investors, and offer you some valuable help in pushing your film. Sounds a bit crazy at first, but believe me - it's not a bad idea from a practical side.

 

Another option, do real estate, or be a part of a family owned business.

 

Other than that, you're going to have a real tough time while "breaking in". Most independent filmmakers don't live off their films. It's not an easy life, my friend. Decide wisely, and hedge your bets. Being a "successful director" isn't something that happens in a year or even five years. As my film teacher Michel Negroponte wisely said "You shouldn't be looking at your life in years, but in decades". Time has proven to me how right he was.

 

Good luck! If you want to succeed, and you've got your s together, you will.

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P.S. just wanted to sum up my overall advice above, I realize I got a bit too wordy there:

 

* Practice and get your chops together, just like any musician would. Absolute must. Without being committed to this don't even bother.

* Network, network, network. Make lots of friends. Everyone you meet will have some lead that will help you make your first film. Become a people person. If you're not a people person, you will suffer.

* Gain leadership skills. You are a director, you must lead the show - or someone will lead it for you.

* Get used to the idea of being hungry. Forget about doing it for money.

* Learn how to handle money and understand you are running a business when making a film. Even if others are running it with you, if you're ignorant here you won't get respect and you can become a victim of fraud. Put together budgets, balance sheets, and income statements for your short films. Collect even the silliest receipts.

* Make sure one of your good friends is a lawyer who can put a quick LLC agreement for you and help with contracts. Understand that film has a lot of legal exposure, things like "releases" and "clearances" are as vital as having filmstock in the camera.

* Plan your life carefully for the long term (not just for the next YEAR, but the next 10 YEARS), have a solid backup job, have medical coverage, and make sure you regularly fund your retirement account.

 

Recommended reading that is not craft related:

 

"How to Win Friends and Influence People" by Dale Carnegie

"Complete MBA for Dummies"

"The Art of Negotiating" by Gerard Neirenberg

Edited by GeorgeSelinsky
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... go get an MBA. You will be surprised how many business school concepts apply to filmmaking...

Solid advice George. Years ago, an industry insider told me, "if you want to earn a living in hollywood, you are better off with an MBA than an MFA". I think he may have been referring to moving into the production side of the house, but like you say ... so many of the concepts overlap.

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Years ago, an industry insider told me, "if you want to earn a living in hollywood, you are better off with an MBA than an MFA".

 

I don't discount the value of a good filmschool education of course (myself being a BFA grad), but many filmmakers think that just having your creative chops together is all you need. It's just the start. Without the people skills and business acumen, you're toast - unless you are very lucky to find someone who will take care of you here.

 

I think the best approach for a college education is BFA film, then do an MBA grad. And this is not just for working in Hollywood, this is perhaps even more important for an independent filmmaker who wants to run a lean and mean production operation.

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  • 2 weeks later...

Thanks for answering me, I really like what everyone wrote.

 

So, it's really a problem when you want to reach now what you want, nothing come up suddenly and sometimes it doesn't even come up for the long term, but do you feel you don't enjoy your life as everyone else ? Do you need something else ? No, it's not supposed to be something like more money and prestige at all.

 

An ordinary job makes me earn money, but it's just that, money to pay for a few bills, maybe If I didn't want to make films, I could be happier, it would be easier for me to study better at university in order to get a good job after graduated(I'm in law school), it would be easier to enjoy nice women coming into my room, so everyone is happy enjoying the life like that, but not me, all that doesn't fill me up at all, I feel empty and sometimes I go down. Sometimes I try for some seconds to forget about wishing to make films because I've had bad times at university feeling like dropping out and leaving my job, and if this happens, I'll have a big problem.

 

I love filmmaking but I'm trying to lead my life to usual life, and it's hard, I just feel like making my short-films which I've written already, but wait opportunities is too painful, something like you're hungry for meal and your meal is filmmaking.

 

Is it convenient if I ask another question ? How to put up with your life without thinking about making films all the time ? Or how not to harm your life thinking about filmmaking all the time ?

 

Thanks you all very much.

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Law school is good, you'll have a good back-up career and you can whip up all the legal paperwork yourself. Also, you'll be a good negotiator I imagine.

 

Keep in mind if you plan on making feature films, you're going to have to figure out how to deal with employment gaps. For a feature you're probably going to have to drop out of the workforce for at least a year. If you can deal with that and survive, even if you get paid less for a while, that's good.

 

If you find success in films coming your way, then you can consider going into film "fulltime", although again, it's not an easy business. It's the same thing as running your own business - it can go well, or it can leave you hungry. If uncertainty is something you're cool with, then you'll do fine.

 

If stability is important, then you're better off making some short films every now and then, as a hobby. There's nothing wrong with that, just realize you're not going to make a feature while working fulltime at another job.

 

But if there's one thing I can advise, don't go into film just like that, with no career backup of any kind, and betting the farm on it. It's simply too risky, and many young kids from film school (or from the street) get burned that way.

 

It sounds to me like you simply need to do some soul searching, and that's certainly alright. It's sort of like being in love, you have to experience the relationship and see where it takes you in order to be sure about it.

 

Make several short films, it's cheap and fun. Then see what happens. If you find you really love it and can't keep away from it, arrange your life in such a way that you'll have a hot meal and get to do what you love the most. Figure out a way to get the money coming in solid, and you'll be able to get the best of all worlds.

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