Make Your Short Film On a ZERO Budget.

I meet some crazy people. In fact, I meet some sane people, too -- both types seem to be under this crazy illusion that making a short film has to cost money. I have had my zero-budget films screened in festivals next to films that cost $20,000; and the difference in quality has been minimal- and quite often my films were better received than the big-budget ones.

Now, I'm not saying that bigger budget short films suck, nor am I saying that a zero-budget film is better; it of course comes down to talent, luck, script, etc etc. But the way I look at it is: if your film is going to suck anyway, you're better off doing it for $5 than $5,000. I've made some TERRIBLE short films, but have been lucky enough in that they only cost me about ten coffees to make.

I write this post because I have met many upcoming Directors who have erred on the side of doing nothing because they "need $5,000 to make this short film." I am here to tell you that you need about $80 to make your short film, if that.

So you need locations. Locations can cost $1000, or they can cost nothing. And it's entirely up to you. You can say "I would like to film in your Doctor's surgery, how much does it cost?" or you can say -- "I am a young, upcoming film director and I would love to shoot in your surgery. I've been coming here since I was three years old, it's a part of my life and I'd love for it to be in my film. I'm doing this film on a zero-budget, using actors and friends from our community to help out. Would we be able to film in your surgery? It would only take one evening, we can do it after you close."

And they'll say "No.".

But then you say, "Is there any way you can help us out? It would be great fun for any of your staff who want to stick around, we'll make sure they're well fed and they can even be extras! I really want to film there because I can't imagine the scene being anywhere else, it would mean so much to me just to film inside the walls of the surgery! Let me know what I need to do to make you feel comfortable and safe with us being there, and I'll make sure you are happy with it."

And then people begin to open up, they begin to see your passion for the project and they realise they can be a part of making movie magic happen.

Think of ALL the people you know. You know people who live in houses, in apartments, in disgusting rented rooms that have leaks; you know people who work in schools, in offices, in the government, in the streets, in charities; wow -- you know so many people! Think of all the locations you can get!

Short film making is not about signing cheques; it's about filmmakers discovering their art and pulling off miracles with no money. When you make people realise this; and show them how they can be a part of it, they will almost always be willing to help. Two years ago I wrote a script set almost entirely in offices. I wrote to a company who I found by searching 'rent office space london' in Google, and within a week they had given me new office space for a whole day, for absolutely no cost. I promised them that 'when I shoot the big movies a few years from now, I'll come back to you." And it's the truth; because now, if I need an office location, they're the first people I'd contact.

A camera does cost money, I know this. But you can get creative here. Maybe the film would be great if it had a rough and raw documentary feel. Maybe you could just shoot it on your Aunts old camera. Or maybe you need something better. But you look online and the rental companies say they want $400 a day for the model you want. Well, that price is flexible. The minute you say "student," or "low-budget" or "upcoming" they'll immediately modify their quotes. If you have a script, if you have passion, they'll see it-- they'll smell that, five years from now, you might be in a position to help them more. Also, most rental companies are closed on the weekends; so if you get a one day rental on a Friday, you may get to keep the equipment until the Monday. In fact, I did that on my last shoot when I rented a monitor and four lights. It wasn't free, but it wasn't very expensive either.

Maybe you know film students who have access to cameras, or maybe someone who shoots wedding videos for a living. Whoever you are getting a camera from-- you can offer them a film credit, you can offer them a banner on your website, you can offer to advertise them to your 1,024 Facebook friends-- you don't HAVE to hand over cash to get the equipment you need. Be creative.

One thing you can't avoid is the need to feed everyone on your set. Well, I've seen people avoid it-- but I don't agree with it. Especially when everyone is working on your film for free. Why are they working for free? Because you're working for free. You're making a film to show everyone your genius as a Director, despite the lack of money and resources. You're giving the actors the chance to show their genius despite the lack of money and resources. The same rule applies for all of the crew. Rather than 'oh, there's no money' - make it positive! What a wonderful film, filmed for absolutely nothing!! And we all had so much fun doing it!

Anyways, food. A few years back I was about to embark on making a short film, and rather than spend a heap of money on drinks, I wrote to a big soft-drinks company. I told them all about my project; I told them how passionate we all are- doing this amazing project for no money, just with love and hard-work. They wrote back, said they liked what we were doing, then sent two big parcels of drinks the night before the shoot. Everybody got to drink their tasty beverages, and it hadn't cost me a penny. You can't guarantee you'll get freebies like this-- but if you don't ask, you don't get.

I learned a lot about catering a film last year, on a feature-film I produced. I was authorising hundreds of pounds a day to go on food. As the shoot was nearing an end, I was looking at our bank balance and getting that concerned producer's look on my face. But then two of our lovely runners came over to me and told me they could take care of dinner for about £8 a day.

They brought in a giant pot and the ingredients; on one day they made Chilli Con Carne, on the other day they made a little pasta and meat sauce concoction. Suffice to say, it was the best food we had on the whole shoot and it had cost me less than £20 over two days. Of course, it can be really difficult on a feature film when you are shooting for weeks, if not months-- but your short film is only taking up three or four days. So why not send out a message to your Facebook friends and say "would anyone like to make dinner for my gorgeous actresses?" - there is bound to be someone you know who loves the idea of cooking their signature dish and bringing it to your location. In fact, they'll be so proud of their culinary genius, they'll probably pay for it all themselves.

Whatever you are shooting, whatever you needs, and wherever you are filming -- there are ALWAYS ways to do it for nothing. Be creative, ask around, and don't take no for an answer.

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The Changing Face Of Independent Film Distribution.

Here's an interesting article for any independent filmmakers who may be reading. It talks about how distribution has changed.

Here's a snippet of the article, 'Independent Filmmakers Distribute On Their Own,' from the New York Times.

"The glory days of independent film, when hot young directors like Steven Soderbergh and Mr. Tarantino had studio executives tangled in fierce bidding wars at Sundance and other celebrity-studded festivals, are now barely a speck in the rearview mirror. And something new, something much odder, has taken their place.

Here is how it used to work: aspiring filmmakers playing the cool auteur in hopes of attracting the eye of a Hollywood power broker.

Here is the new way: filmmakers doing it themselves — paying for their own distribution, marketing films through social networking sites and Twitter blasts, putting their work up free on the Web to build a reputation, cozying up to concierges at luxury hotels in film festival cities to get them to whisper into the right ears."

Read the full article here.

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What impact can we have as filmmakers? And with impact, do we have responsibility?

I'm interested in whatever any of you might bring to this discussion -- be you a film director, a writer, a film-lover, someone who hates movies, or even someone who's never seen one. Whoever you are, I'd love to hear your thoughts on this. What is the maximum impact we can have as filmmakers? Can films really change lives? Can they make us act for social change? Can they change us for the better?.

There is a lot of room for films as pure entertainment. Most of Hollywood's output is exactly that. But sometimes, we can do more. Whether it's a little documentary making you aware about a new topic, or 'Shawshank Redemption' offering you hope-- ocassionally, a film can have an important and influential effect on you. But how big is that effect? On a personal level-- has a film ever changed the way you feel about a matter? Has it ever inspired you to do something that you wouldn't have done without it?

Documentaries, of course-- offer us a direct line into an issue. But what difference do they really make? For example, if you take a look at Michael Moore's documentaries (especially the older ones) they brought a lot of issues to a wider audience, for example gun laws-- and for a while, it looked like he could change America. In fact, he was certain he would with 'Fahrenheit 9/11' - but he didn't.

Of course, the problem for Michael Moore and indeed for most documentarians who touch upon politics and issues, is that they are tainted by their persuasions. They are an extension of a journalist, or a politician; they're just part of the cycle of partisan politics. Even in one of my favourite documentaries, 'When The Levees Broke' - Spike Lee can't steer clear of politics. NOR SHOULD HE HAVE, but my point is that as a result of that, some viewers are going to feel polarized.

As fictional writers and directors; we are able to have a dramatic impact on audiences. Right now, films like the Harry Potter Series and 'Twilight' are watched and loved by millions of teenagers worldwide. Do the makers of these films have only the need to entertain, or is there a responsibility regarding the message and intended meaning of these films?

I don't wish to get into a conversation about whether violence in films causes violence in the streets -- I'd like to skim past that and look at it more positively; and ask--- do we have an opportunity to change the world, for the better, with the stories we tell? And how should we go about doing that? It's a tricky thing to approach. I remember watching 'Wall-E' in the cinema and being completely turned off because of it's overt messages about the environment. Yet at the same time I've watched many other films and enjoyed the political intent behind them. Does it come down to personal taste, or is there a way of storytelling that is appropriate? Do we know where that line is?

It's also worth addressing the fact that It'd be a shame to swing too far in the way of responsibility and political correctness. A film with absolutely no violence, no jokes pertaining to race or sex or sexual-orientation would be boring. It wouldn't be real life. Is it wrong to have pure violence? Is it wrong for Tarantino to rewrite the most important death in modern history? What responsibilities do we carry as people putting our creative ideas into the open?

I often feel a limitation as a writer. It's a ghost role that says 'You will only have a certain amount of impact.' And I just wonder, does that limitation really exist? I am unsure if a film has ever changed the world. And even if it hasn't, I'd like to believe it can. I'd like to believe that motion pictures could fulfill a role that is different to that of leaders, policy makers, and celebrities.

I'd like to facilitate an open forum discussion through the comments section below. I hope we can better understand each other and discuss our beliefs in terms of the true power of movies. What impact can we have? And with that impact, do we have responsibilities?

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RIP John Hughes, Director of 'Home Alone' and 'The Breakfast Club'

'Home Alone,' 'Ferris Bueller's Day Off,' 'Miracle On 34th Street,' 'The Breakfast Club,' 'Sixteen Candles,' 'Planes, Trains, And Automobiles' - I could name many more. John Hughes, to put it simply, is an iconic legend, whose creations are some of the most loved films of the 80's and 90's. 'Ferris Bueller's Day Off' defined the 80's, 'Home Alone' was my favourite film for years after it came out. I still watch it every Christmas. For me, 'Home Alone' and 'Home Alone 2: Lost In New York' are THE quientessential Christmas movies.

He passed away suddenly today at the age of 59 - of a heart attack whilst taking a morning walk.
Variety.com reports that "In the last decade, he stepped back from the legacy he created to enjoy time with his family, maintain a functioning farm in northern Illinois and support independent arts. He is survived by his wife of 39 years, Nancy, two sons, John and James, and four grandchildren."

It's great to know that he left us a great legacy of truly brilliant, often heartwarming films-- and didn't feel the need to stick around in Hollywood cashing in everywhere he could. Instead, he made his masterpieces, and then became a family man.

RIP - John Hughes. 59 is way, way, way, way, WAY too young. The only comforting thing when this happens in our industry is to know of the legacy that has been left behind - and in Hughes' case; it's enormous-- and I am sure his work will mean something to everyone who reads this. What could be better than that?

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Open-Air Screenings Bring A Slice Of Movie Magic To London.

I love open-air cinema. It's quite a rare treat in London because of the miserable weather. But any time somebody foolish attempts it, I always make sure I am there. Because when it does happen, it's magic. I get to live my Cinema Paradiso fantasy.

So this is Somerset House.

And here are film lovers.

As the day began to fade, the smell of cinema was in the air.

And before we knew it the time had come to watch 'Don't Look Now' (Nicolas Roeg, 1973) - starring Donald Sutherland and Julie Christie. Prior to the film we were treated to an introduction by

Steven Frears (Director, 'High Fidelity,' 'The Queen,' etc)

People were gripped by the classic piece of cinema, the beautiful
surroundings, and the rare London calm.
But for me, the best part of the night was in Covent Garden,
hearing this wonderful man since a bunch of Cat Stevens songs.

'Don't Look Now' is part of the Film4 Summer Screen series. With notable films such as 'Shawshank Redemption' and 'Slumdog Millionnaire' already screened, we're left with 'Strangers On A Train', a double bill of 'Cool Hand Luke'/'Road House' - and it ends on Saturday with 'Raiders Of The Lost Ark.'

Raiders is sold out but Thursday and Friday have limited tickets available on the door, from 5.30pm onwards. See you there. If you love films and are in London, this is the perfect way to enjoy a film, along with 2000 of your closest friends.

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