As a filmmaker, your goal is to get your movies seen and sold. The problem is, if you’re just beginning, nobody will take your calls or read your screenplays or produce your ideas. So how do you get noticed as a filmmaker? When I first started, I did what you’re doing. I sent out countless […]
If you’re an ambitious writer, I’m going to tell you a secret. There is no better feeling in the world than the day you stop sending query letters and instead, you start producing your own work. For years and years, you have dreamed about seeing your work on the big screen. You know you’re good. So why ask for permission?
I think one of the biggest challenges writers face is an unrealistic standard of perfection. And as a result, it’s easier to talk about writing without actually writing. So let me offer you a strategy – don’t be afraid to write a crappy first draft. And second to that, don’t be afraid to suck.
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.
When I was first starting my filmmaking career, I thought long and hard about the prospects of film school. At the time, I figured a degree from one of the top film schools would increase my odds of garnering success. Now, after having worked in the game for awhile, I can honestly tell you that very few people, if any, have asked me where I went to film school.
Everything has changed. It’s been almost a decade since I’ve heard anybody in the filmmaking community seriously consider shooting their first feature on film. And why would they? These days, if you want to make a great looking movie, you grab your $2,000 DSLR camera and you start shooting.
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.