As we prepare to transition to 2015, I thought I’d post about transitions in storytelling. A few months ago I saw Jeff Garlin interview Steven Soderbergh live on stage at Largo. Steven was asked, “What is the most important part of the filmmaking process?”
Here are some gift ideas for the writer, director, editor, cinematographer or producer in your life. Each of these I use a lot. Some almost daily.
I’ve started assembling an animatic to pre-visualize a new short film I’m developing. I’m using storyboards from Chuck Forsman, who turned my stick-figure scribbles into presentable artwork evoking the intended tone beautifully. I also have to thank the supremely gifted actors, John T. Woods and Ellie Araiza, for providing the characters’ voices.
The title of this article is misleading. Intentionally so. It’s baiting you. Running a crowdfunding campaign is fraught with uncertainty. This makes claims of a short cut to success hard to ignore, right?
Here’s is a sample from Down and Dangerous, showing the written scene with the final version in the movie. This one is interesting because of how little changed, although the location of Rafael’s Office was nixed in favor for a larger space. The biggest take away here is how much the actors bring to the scene. In many cases the words are the same, but the performances emerge as their own animal — often turning what had been a statement into a question, or a question into an exclamation! And of course, the magic of Rafael’s mocking laugh was not scripted but capped the scene beautifully.
Have questions about using the New Media agreement on a feature-length movie? Want to know what is and isn’t negotiable under this agreement? Is there a bond? Is there a minimum? What happens if I sign with a VOD or Blu-ray distributor?
It’s understandable that you may not want to attract undue attention from SAG-Aftra before you know the lay of the land. Here’s how to get all your questions answered accurately and discreetly.