Guinevere Turner is a writer, director and actor who has been working in film and TV since her 1994 debut film Go Fish. She went on to act in several films, including The Watermelon Woman, Chasing Amy, and Treasure Island. Eventually she teamed up with Mary Harron to write American Psycho and then The Notorious […]
To avoid having any one element of foreshadowing be too obvious, often the writer will throw in some red herrings–some things that could be foreshadowing but in fact don’t pay off or pay off in a different way than we expect. The person who has the gun in the drawer may become an immediate suspect in our minds, but later maybe we see him use it to light his cigarette and we realize it’s not a real gun (of course he may have a real one somewhere else….). That kind of misdirection keeps the audience guessing.
If you’re just starting out as a filmmaker, deciding if you should attend a traditional film school is something you need to decide. And it’s a costly decision – some of my friends here in Los Angles are over fifty-thousand dollars in debt…
Earlier this week, I caught wind of an indie production company based in Australia called Rapidfire Productions. This is a production company that operates as a self sustaining modern moviemaking business. They develop movies, get money, make their movies and through their own distribution arm, the company reaches the masses.
The traditional independent filmmaking business was defined by a filmmaker finding a script, locating investors, raising money, making the movie and then landing an awesome distribution deal – and living happily ever after. Over the last few years, the entire model of indie filmmaking has gone Topsy-Turvy…
As a filmmaker, I assume your primary goal is to make movies. But as you know, making a movie requires many steps. So to plan your next movie as well as some of other big whoppers you wish to accomplish, I suggest breaking your goals into smaller and smaller chunks… And then finally break them into small enough chunks so you can include them in your list of daily tasks.
Agents, managers and producers make their living by finding good material, so it is in your best interest to have some good material. In this article on screenwriting, Jason Brubaker shares his experience reading material for a producer in New York – And how to avoid common pitfalls.