How to get a job as a director....

[Landon D. Parks]

I have a question. I know I am only 16, but bear with me for a moment. I want to get a job directing a feature film, and a studio one if possible. Maybe not right now, But I think I have two option to work my way up to that point, and I need advice on which one I should choose.

 

#1: Go out and buy an XL2 (Or similar), Small Light Package, Sound Package, ECT (Pretty much everything needed to shot a film with) for $10,000.00 or so. Hire free crew and cast and go out and film maybe 3 features and 10 shorts. Fill them all on a Demo DVD and send them out to Agents, then let the agents get me the meetings that could possibly get me jobs.

 

Even take some of the films around the festivals and win awards to put on my resume.

 

(Yes, I have the ability to get $10,000.00)

 

OR

 

 

#2: Go out and somehow make a $300,000 - $500,000 feature with a few "Known" Cast and shoot it on 35MM. Have it shown @ High Quality film festivals like Sundance and Cannes, ect. MAYBE have it picked up for distribution. Then have the agents come to me wanting to represent me to get me meetings for possibly more jobs?

 

(Assuming in the first place I can get $500,000!)

 

Either way, It seems to me that I need to get an agent somehow. I need to know which way will give me the best chance....

 

P.S) I have heard a lot of people say agents are no good, and there is no need for them. I have also heard that they are not actually the ones that get you the meetings.

 

However, that seems to go against how film makers like what his name from Darkness Falls (2003) got that job. His agent sent him on a meeting there.

 

Thats not the only story I have heard about agents getting client meetings with the big boys.

 

What I guess I need to know on top of the above question for sure is this: Will getting an agent help me get meetings with producers which could lead to being hired to direct a film (Any kind of film, for anybody, for free, just as long as I don?t have to pay for it and produce it.)

 

I know this is probably a stupid question, and this Cinematography forum is probably the wrong place to ask it, however I have posted it on other boards and just got the old "Don?t bother, agents are worthless" statement. So as usual, Im coming to you smart people for help.

 

I know this is a stupid question, but I have gotten answers to questions a lot more weird than this one.

 

P.S.S)

I used a spell checker this time.... Hope it helped some.

[Adam Frisch FSF]

Most big directors of the last 20-30 years have come from commercials. It's a good discipline, so if you get big there your eventual shot at a feature is almost guaranteed.

[Rob Belics]

First things first. Make something, anything, any length and see if that's any good.

[Bob Hayes]

Screw up your exposures. Do some very poor operating, flash a roll or two of exposed negative, pull some very poor focus and someone might decide to make you a director.

[Landon D. Parks]

:huh: :lol:

 

Ahhhh, I see. Well first off I have to have someone hire me to pull poor focus, flash some rolls and screw up a camera or two.

 

Which wont be easy since they now know why I want to pull focus or operate a camera. :blink:

 

Watch out hollywood, Landons on his way in. :lol: :huh:

[Jonathan Spear]

"Watch out hollywood, Landons on his way in."

 

H-ll yeah B)

 

That's the right 'tude my friend.

[Guest Sean McVeigh]

For some reason, your roadmap to success keeps conjuring up the following:

 

1. buy XL2

2. shoot 35mm

3. ???

4. Profit!!!

 

:)

[Landon D. Parks]

For some reason, your roadmap to success keeps conjuring up the following:

 

1. buy XL2

2. shoot 35mm

3. ???

4. Profit!!!

Sorry Sean, I dont understand. Are you saying this is what im saying I should do or what your saying I should do? Because I dont have any plans to go and shoot 35mm anytime soon. I can barely afford MiniDV, more less 35mm.

 

My first Basic Idea was to just shoot all my stuff on DV and pile it onto a demo reel, and use that to get jobs. After all, the art of directing is not so much in the way the image looks, but how well that story is being told.

 

So MiniDV @ 24p should'nt be a big let downfall, since it will just be thrown onto a DVD anyway.

 

By the way, 28 days later looked "Nice" on DVD, but it looked horrible on the big screen. Thats why If I was to shoot MiniDV, I would not even consider it for mainstream public viewing. Just to add to my demo reel, and to gather a group of maybee 300 local people and some internet people 9like yourself's) to sit in on it and give me a rating for each film to see how well I did.

 

I think this would be the best way for me to show off my skills. Someone is more willing to hire a director that shot 3 featurs on DV than 1 feature in 35mm, because the quality of the image is not usually (And it should not be) what someone judges a director on.

 

Now a Director of Photography, thats a differnt story.

 

Then again, maybee Im just blowing steam and talking about stuff I have no idea what Im talking about.

 

All I know is that I want to direct a feature film. How I get there, still need to figure that out. Anyone have a suggestion that I have not though up?

 

Thanks!

[Jonathan Spear]

Whatever it is you're doing, keep doing it.

 

(and write the screenplay that's stuck in your head!!!!)

 

:D

[Landon D. Parks]

I actually have 3 screenplays stuck in my head. And I have been attempting to write a 3 at one time over the past 4 months in my spare time. So fare I got 2 pages @ 10pt done on one, 26 pages @ 12pt on another, and 15 (or so) pages @ 12pt on another.

 

2 are features, one is a short.

 

I would like to be able to go out and buy a small shooting package with an XL2, Solme lights, Some sound gear, and a few other things to be able to make a movie and then just hire people to come down from Indianapolis on the weekends to film the movies at one time. film all 3 of them over a 3 or 4 months people then edit all at once.

 

This way I'll have 3 films ready to be put out all at one time, plus it will have me from taking breaks from Principle photography to edit in between films.

I should do it. :unsure:

[Landon D. Parks]

film all 3 of them over a 3 or 4 months people then edit all at once.

Thats suppose to Period, not people... sorry.

[Guest Sean McVeigh]

Sorry Sean, I dont understand.

<{POST_SNAPBACK}>

 

This link might clear up my comment. page down a bit until you find the 3-step plan :)

 

Anyhow, aside from that... get those screenplays committed to paper. It might actually help to focus on finishing one at a time. I tend to suffer from "try to do too much at once"-ism, and it sounds like you might be the same way :) You're still 16, you've got loooots of time. Your feature screenplay, if properly formatted, should wind up being somewhere around 80+ pages.

It's a logistical nightmare to try to throw a feature together and film it in such a short amount of time, let alone 3... my suggestion would be to involve as many people as you can at your earliest possible convenience and be as open to criticism as possible.

 

And if features is what you want to do.. you could consider skipping the short and diving right in, unless you want to sharpen some related skills on the short. I think you'll find that a different kind of stamina and discipline is required to make your way through a feature than through a short.

 

But yah.. just keep working at it, and by all means "shoot someting!"

 

Sean

[Stas Tagios]

I agree with Sean that it's probably best to focus on one script/movie at a time.

 

Especially when it comes to production, you don't want to spread yourself thin and compromise your creativity and projects by rushing to do them all at once. Start out with some shorts (especially if you've never made a movie before), and get a handle on the basics before progressing to features.

 

For every Orson Welles, who made a stunning first feature without having directed a film before, there's countless other feature filmmakers who started off making short films in their youth, getting experience, learning their craft, before putting all their learned skills to use on a feature project.

 

Good luck with whichever approach you decide on.

[Allen Achterberg]

dude, you are 16, you have PLENTY of time. just start doing it, 2 years ago I wanted to be a Director...then after working on some real shoots I found out what I really wanted to do and now do, Direct the Photography. and 2 years ago I was your age, so dont be like me and fall in love with a different girl, just start directing. Leave camera and lighting up to a DP which you need to hire...if you can get 10 grand, shoot a decent 16 short and then shoot a 35mm project. Will definately sepereate you from all the other chilrdren (they think DV is cheaper...which in a lot of higher end cases is the exact oppisite)

 

Good Luck Kid!

[Bob Hayes]

For every Orson Welles, who made a stunning first feature without having directed a film before, there's countless other feature filmmakers who started off making short films in their youth, getting experience, learning their craft, before putting all their learned skills to use on a feature project.

 

I think it is important to understand Orson Wells was am amazingly talented radio drama producer and director. He was one of the top guys. And radio was pretty hot back then. Everyone listened to radio drama.

 

How do you become a successful director? Lean to write and learn distribution.

[Jeremy]

For every Orson Welles, who made a stunning first feature without having directed a film before, there's countless other feature filmmakers who started off making short films in their youth, getting experience, learning their craft, before putting all their learned skills to use on a feature project.

<{POST_SNAPBACK}>

 

Orson Welles made "The Hearts of Age" before "Citizen Kane," a short film that was totally a training ground in the art of filmmaking. It's surreal and feels very much like a student film, which is really refreshing to see the first short film by the man who then made what is arguably the greatest film of all time.

 

I found a copy of it at my local library, along with a bunch of other short films by directors like Godard and Truffaut from before they were Godard and Truffaut! Kind of inspiring to see, actually.

 

Everybody gets better with experience. Shyamalan made something like 40 (mostly short) films before he directed "The Sixth Sense." Just make sure to make the movies in your head, and then make more and then more! Just keep at it, and good luck!

[Landon D. Parks]

Everybody gets better with experience. Shyamalan made something like 40 (mostly short) films before he directed "The Sixth Sense." Just make sure to make the movies in your head, and then make more and then more! Just keep at it, and good luck!

 

40 shorts huh? That is a lot. Well, I dont plan on making 40 shorts before a feature, although I dont plan to just jump right into a feature.

 

I figure as long as I pile all my good work onto a demo reel, then it may get me some where.

 

I guess we will see.

 

Landon

[Guest Frank Gossimier]

Ok I know this kid is only 16, but come on am I the only person who found this to be extremely funny?

 

"#2: Go out and somehow make a $300,000 - $500,000 feature with a few "Known" Cast and shoot it on 35MM. Have it shown @ High Quality film festivals like Sundance and Cannes, ect. MAYBE have it picked up for distribution. Then have the agents come to me wanting to represent me to get me meetings for possibly more jobs?"

 

Gee why didn't all of us here think of that? Brilliant idea!

 

Phil Rhodes....paging Mr. Rhodes...kid in need of reality training.

 

Ahhhhh, the joys of youth....

 

Frank

[Guest Sean McVeigh]

Brilliant idea!

<{POST_SNAPBACK}>

 

Come on Frank... of course it's brilliant! Hop to it... if you aren't already well into option #2, we've all got a head start on you!

 

:)

[Michael Nash]

Landon; :rolleyes:

 

One... step... at... a... time...

 

You're exhibiting the classic signs of youth, where enthusiasm greatly outweighs experience. No offense, but it seems you have a pretty naive understanding of how it all works. You can't shortcut the system, just because you want to or believe you're the exception.

 

It's like the old saying, "how do you get to Carnegie Hall? Practice, practice, practice." No amount of good ideas will allow you to make a good feature-length film until you've had tons of practice at filmmaking. You have to have done a LOT of it, made plenty of mistakes and learned from them, and had plenty of successes and learned from them, before you'll really have what it takes to make a decent film. To that end, get out there and practice the craft and art of filmmaking as often as possible, in as many ways as possible, with as many people as possible. Give yourself time; YEARS of time to practice and get good at it. After that, you can get into the business and profession of filmmaking, whereby come the agents and money and contracts.

[Phil Rhodes]

Hi,

 

Oh well, since someone specifically asked, I shall become the negative voice on call.

 

> #2: Go out and somehow make a $300,000 - $500,000 feature

 

Nobody will allow you to do this until you are at least 30, probably older. $300k is barely enough to make a 35mm feature anyway and "known" actors will cost you a hell of a lot more than two hundred grand extra.

 

> Have it shown @ High Quality film festivals like Sundance and Cannes, ect.

 

This will not happen, because your first movie will be awful. So will your second and third attempts. By attempt twenty-five you may be getting somewhere, or you may not. I've done a lot more shoots than that and I am still awful. Even if you have the talent neither you nor anybody else can know that yet, and the likelihood is that you haven't (in fact, every post you make convinces me more and more that there's nobody less likely to make it in filmmaking, but that's your problem.)

 

> MAYBE have it picked up for distribution.

 

No, because it will be awful. Go and make fifty shorts then come back to features. See you in fifteen years.

 

> Then have the agents come to me wanting to represent me to get me meetings for > possibly more jobs?"

 

No, no, you're really not getting this, are you? You will not get an agent because your hypothetical movie, which you will never be able to produce, will be awful, because you almost certainly don't have the talent and very certainly don't have the experience or ability to do it.

 

Go away and stop thinking about making features until you have done film school and worked as a tea boy on student shoots for five years. In fact strike that, come back when you graduate high school, okay? That'd be a start.

 

Phil

[Jonathan Spear]

Landon,

 

Dude, I'm 23. here's what i think; and it's long and full of cliches you've been warned...

 

2nd Rule of Future Director/DP Club - NEVER let ANYONE get you down, destroy any hopes and dreams you may have. Ever. And for one reason only. At the end of the day, they are not you. They don't call the shots. They don't decide what happens next - only you do.

ANYTHING IS POSSIBLE. There are success stories out there. But seriously...think about it...at the end of the day...who calls the shots? who cares about where you live, how much money you make, how you're doing, your physical and emotional well being, when to take the next breath of air -- YOU. YOU and you alone call every single shot of your life. You are in complete absolute 100% control of every decision you make but you also pay for your mistakes. You can take advice from industry pros but you can also use common sense and the gift of choosing what to take in and what not to take (yes -- if someone's having a bad day they may be taking it out on you).

You can also, like countless others have proven time and time again, take matters into your own hands and really go for your dreams...all out. and do it right. practice, learn the rules, learn why and how to break them, buy/rent/borrow/build the damn camera (and its -just- a camera...that's all it is), know the camera like a musician knows his intrument. And do everything AT YOUR OWN PACE. Yngwie Malsteen (www.yngwie.org) can ROCK on lead guitar. Frank Gossimier also plays guitar. Frank G is no Yngwie Malmsteen. I don't know Frank G personally - but from his posts, it sounds like he's slowly losing his drive (your, er, "youth"). Yngwie Malsteen doesn't care what people think. Lot of people think he sucks. They don't care for his classical background and find his neo-classical style boring. Yngwie DOES =NOT= GIVE A - . That's why Yngwie is Yngwie ad Frank is Frank. And Frank may be many things Yngwie can never be, but Frank still can't rock like Yngwie. But that's your decision to make.

ln the meantime listen to music and stay inspired as much as you can without exhausting yourself. Stay cool, stay focused and most important key to success in life IMHO is SLEEP. 7-8 hours a day.

And when you're ready - write the damn script. aqcuire (that's not how you spell it, is it... :D )a camera, AND MAKE THE @#$% MOVIE! GOOD LUCK!

See you at Cannes in '08.

 

:ph34r:

[Guest Frank Gossimier]

Hey TSM,

 

"I don't know Frank G personally - but from his posts, it sounds like he's slowly losing his drive"

 

Just before I run out of power and keel over from a brain hemorrhage, I wanted to point that what ever you do TSM, do NOT become a writer. You have the writing skills of a 13 year old if you're lucky. Good grief some high school gave you a diploma?

 

Besides I earn six figures every year as a DP, what the hell have you done besides work in a pizza shop?

 

As for Phil Rhodes....oh that was one of your best yet! Hilarious! I'm glad you heeded the call.

 

I love this line Phil...

 

"(in fact, every post you make convinces me more and more that there's nobody less likely to make it in filmmaking, but that's your problem.)"

 

Beautiful!

 

Frank

[Jonathan Spear]

"Besides I earn six figures every year as a DP"

 

:rolleyes:

 

000,000,000.00$ / yr is nothing to write home about.

 

But if cinematography makes you feel less lonely, so be it. Just PLEASE stay away from films involving women and minorities.

 

(That's right Frank. It's those minorities...those... those ..women... Oh no! they're going to steal your job! OH NO Frank! Oh NO!)

 

By the way, do senior citizens get Christmas wellfare bonuses up in Canada (let me guess...French side?) ? You should check it out... that colonoscopy's gonna cost ya.

[Jonathan Spear]

"You should check it out... that colonoscopy's gonna cost ya."

 

(You're welcome! ;) )