The Bizarre Nature Of Creative Juices.

Yesterday, the Director Of Photography of my latest film was coming round to grab some footage and take a look at the rough edit. And I was like 'Aghhhh, this film looks like crap.' So to make myself feel better, I rushed to polish up a montage scene I'd been meaning to do. It looked great. And then the DP showed up.

And he liked what he saw from the roughest of rough edits. We chatted some more, threw ideas around-- and then I closed Final Cut Pro. But as I did, it asked me if I wanted to save my changes. I figured I'd already saved my montage bit so I said 'No.'
So the DP went home and that was that.

And then today, I jumped back onto the edit, only to discover, of course, that the montage scene wasn't there. I was immediately grumpy and angry and began throwing my weight around. But luckily I don't weigh much so it wasn't a big deal. Anyways, I got my head together and set to work.

But I couldn't! I couldn't edit the scene, because I knew I'd already done it. I kept going back to it again, but my head was like "No! No Way! You've done this! I don't want to do it again!." I threw one shot into the edit, and I was immediately told, by myself, "This sucks, this looks like shit. Yesterday was better!."

This kept happening and I just knew I wasn't going to get it done today so I gave up. Instead, I felt a desperate urge to watch a movie. I chose 'Reign Over Me.' Not totally sure why, I just really fancied it.

I watched twenty minutes of 'Reign Over Me.' It was definitely the right choice as I was loving it and connecting with it deeply. But then, suddenly, these wave came over me. A wave of purpose and feeling and creativity. That voice in my head had changed his tune rapidl. He was saying 'go and edit! go and do it now!' And I suddenly felt certain I could get the montage edited even better than yesterday. At this exact same point the Dave Matthews Band song 'Two Step' sprang into my mind. YES! The perfect music to go with this scene! (of course, I won't be able to afford the rights to it but it serves as a good temp score for my composer later on).

I edit. I edit quickly. It looks GREAT.

And I can't help but be a little fascinated by my process. Probably because I have no idea what my process is. Did I need to watch twenty minutes of an Adam Sandler flick? Did I need to go through that, 'this looks like crap!' rampage in my head or could I have skipped past it? Was it something about 'Reign Over Me' or could it have been another film? Why did the DMB song enter into my mind today and not yesterday? If I had remembered to save my work yesterday, I wouldn't have had to re-edit it today-- so would I not have thought to include the DMB song?

I'm not suggesting you can answer my questions, I just find the whole thing pretty fascinating. If I could figure this all out maybe I could edit films ten times as fast.

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Reasons why 'Home Alone' is possibly the greatest film ever.

In case you've forgotten, here are some magic moments which help explain why 'Home Alone' is amazing.

Culkin miming 'White Christmas' in the mirror.

The party that never was.

Joe Pesci covered in feathers.

John Candy continuously talking about Polka music.

Culkin saying to the cashier; "Ma'am, I'm eight years old. You think
I would be here alone?" (scrunches face) "I don't think so"

"I'm gonna give you to the count of 10, to get your lying, yellow, no-good keister off my property, before I pump your guts full of lead! "

People continuously crashing into the statue.

Last, but not least - my favourite moment...
"Fuller, go easy on the Pepsi!"

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I make films for you.

You may think you're ruining me, but you're spurring me on.

You think you can undermine me, you think you can tell me I'm not strong enough, or not talented enough, you can say whatever you want.

You think I don't work hard? Well that's just fine.

You think I just sit around watching films? Well that's just fine.

My life will be filled with beautiful films that I've created. I'll have the art, the money, the women, the big house, the love, the friends.. and I'll do it all for YOU.

YOU, the one who tells me I should get a real job.

YOU, the one who tells me that I'm not going to make it.

I see your hate.

I see your jealousy.

I see your pain.

It gives me vision.

It gives me strength.

It gives me determination.

You could be right;

I may just be nothing.

But I am giving it everything.

I am giving it everything.

Nearly everything I do, on nearly every single day, is in some way related to, or because of; the very things I am focusing my career and my life on. You can tell me it's pointless, you can tell me I don't know what I'm doing, you can do that little chuckle you do when I show you my work, you can even tell me 'your idea has been done before,' - but I will not react with anger, or hate, because I am not the same as you.

You can stay on the platform,

because I am taking the train out of here.

it's a train full of dreamers and workers and singers and writers and dancers,

and we're getting the train out of here.

we know where we're going.

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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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