As some of you may know, we are starting a series of educational videos that deal with several aspects of filmmaking, pre-production, production and even distribution.
We feel we need to share tips, ideas and warn you against some of the issues we have faced.
These videos are previews of longer versions that we will have available soon at an official site.
So make sure you sign up to receive them as part of a monthly newsletter. You can sign up here on this page or at my facebook page here:
http://www.facebook.com/josecassella
(bottom left of page)
Some of these preview videos may be simple to some but little by little our aim to to guide you through many aspects of the filmmaking process that sometimes they don't talk about in film school.
The links to videos are found here:
DELIVERABLES:
http://www.youtube.com/watch?v=oW2ZY0jGxYs
BASICS OF LIGHTING part 1- 3 point lighting
http://www.youtube.com/watch?v=3RuVW0VcpCs
WEDGE LIGHTING
http://www.youtube.com/watch?v=e4PGLAfA-3Q
Many more will be available in the next few weeks. :)
Wednesday, November 18, 2009
THE FILM STUDENT
I've posted this before and it seemed to get a lot of responses, because I am currently dealing with a similar situation, I feel it is cool to re-post this again here:
THE FILM STUDENT
One of the things I've always been interested in is to work and be surrounded with people with passion, at least people with my same interests.
I've always looked for cool and interesting people to work with. In the biz I always wanted to learn from the best...so I went out and looked for the best. And always...I felt that insane desire of shooting in film (and playing music too, but that's another story).
There was always a desire for knowledge, to get better at something, to learn from a good source, etc. No matter what wall was placed in front of me, I would climb it and conquer.
I have the privilege of teaching Cinematography, what I consider the basis of filmmaking. The art of blocking, framing, lighting and bringing the story written on the page into the screen. That is where the magic happens.
Any director that seriously calls himself or herself a Director needs to know these concepts. A HUGE deal of what a Director does involves concepts of Cinematography, blocking and scene exploration, NOT JUST DEALING WITH THE TALENT!.
I would assume the students that come to this class I teach have at least...a little interest in the subject. In fact, me being me, I expect everyone to be insanely fanatic about the subject.
But the reality is that not everyone is going to be interested, and that's ok. There are people that truly inspire me now and then, people that truly want to do film. But in my situation, its almost nobody interested!!!.and this is before I utter a word. I guess one can call it bad luck.
Of course, there are always exceptions...out of 100 I usually get at least 4 to 5 jewels. Great students that ASK the right questions and that truly look to learn as much as they can. Sponges, enthusiastic and full of drive. Those people make the process worthwhile. SO I AM NOT TALKING ABOUT THOSE PEOPLE AT ALL, lets be clear about this part. I love them and I love sharing my love of film with them.
BUT It seems to me that the new generation of film students going to a film school are more full of complaints that of actions. Quentin Tarantino once said...: "In film school you have Film MAKERS or Film FANS.." Not many want to do the hard work.
I use to invite an average of 50 to 60 students to shoots to end up with 3 to 4 left the following day. As soon as they realize it's work, they vanish.
I see film fans everyday, not many filmmakers....
It seems that the majority wants everything served to them, but not many want to go out and practice, polish their skills, fill the remaining 50% they won't get in school. And the info is available to them 24/7 via the net, its there to be found and learned!
I am confronted at times with a class that sits in front of a HD or 35mm camera and cannot wait to leave the class and go home. When I was in my early 20's I was prepared to kill and go to prison if I had to in order to touch a 35mm camera!
I have students that fail to realize that life is short and the time of action is NOW. They come to me and tell me they will direct when they leave school. But yet I see more and more of them working eventually at Taco Bell. (nothing wrong with Taco Bell by the way :)
Passion and love for the craft. If you don't have it, accept it, know it then don't waste your time. Or mine. Passion and love for MORE THAN ONE CRAFT, that is key.
That passion that drives people like Tony Scott, Robert Rodriguez, Quentin and Wes Anderson and many more dedicated filmmakers seems lost.
It seems easy to complain and blame something else, and (like I've been guilty of in the past) many fail to put that giant mirror in front of them and confront the truth.
And as professional I face week after week countless of clueless directors that are unable to simply block a scene. They just turn to me and ask me to make it look pretty. Then I see those same directors get fired or fail down the road, and fade away.
For the future filmmakers reading this, the ones in school, here is a bit of advice:
-You have to love this, really love it, like you cannot leave without it. Like sex, like breathing, like eating.
-You have to practice, if you don't have a film camera, take still pictures (even if its a "Tickle Me Elmo" shitty Fisher Price Camera), practice framing, practice blocking, just go out and practice some part of the craft.
Go out, right now, do something about your career!!!!!
(and this goes for the actors too, you know the ones that woke up one day and decided to do acting, and then only go for the lead role without a clue, experience or study, its a CRAFT, study it!!!!)
-Learn to observe, look how lighting affects people, faces, structures. be aware of your surroundings. There, "its a dude putting gas on his car tank"...how would you block or frame this scene?, how?
-Watch older films, not just the new crapfest on the new release section in Blockbuster. Most films now days look and feel the same (not all... but lots of them).
SEE Hitchcock, Kubrick, dePalma, Lumet, Scorcese, Scott, Cronenberg, etc, compare those to other filmmakers, take notes, how does one person block versus the other one, what made them different?. How do they tell a story versus the other filmmaker?
OLD DOES NOT MEAN BORING!
Its like an athlete getting ready for the Olimpics, you have to eat the right food and nutrients.
-Never cease to be exited about filmmaking. What can you do TODAY to enhance or improve your skills?, ask that always.
I constantly hear..."well, they never told us that or this, etc..."
Mr. Sean Connery in THE ROCK (can you believe I am quoting a Michael Bay movie?!), said "LOSERS ALWAYS WHINE ABOUT GIVING THEIR BEST...WINNERS GO HOME AND FUCK THE PROM QUEEN!
I think, when it comes to life and to film, that sums it all perfectly.
Thanks
Jose
Wednesday, August 26, 2009
ITS NOT OVER YET, GOT DELIVERABLES? IF NOT, I’M SORRY, NO ONE WILL SEE YOUR FILM!
It is shocking how little information is available to indie filmmakers out on the net and in film schools. I don’t mean film studies or techniques…but details on how to get a film out there, how to make it look acceptable or decent, from the point of view of people that have actually done it.
Making a film is a fantastic thing, if you can survive the process of making one, if you reach that final cut, I congratulate you sir or madam, you have truly accomplished something many will only dream of doing. Nevermind what the new crop of moronic film critics might say (it seems everyone with a blog can become a critic now days), what is important is what the distributor says, do they like it?, is it something they can sell?, MOST IMPORTANTLY…DO YOU HAVE DELIVERABLES?!!!
Once your film is done, its not over, not by a long shot. Every studio will ask you to deliver the film in its basic elements, sound-picture-extra features for DVD or Pay-Per-View. The catch is, this costs a fortune, and every element, every master tape with an element needs to go through a process called “QC”, or “quality control”.
Its kind of like a test that a video or film lab gives you, and you must pass this quality test, a very expensive test..I might add. If not, you have to take it again, paying for it again.
$$, it adds up, thousands of dollars indie filmmakers don’t have.
IF YOU WOULD LIKE TO SEE AN EXCLUSIVE VIDEO EXPLAINING THIS IN DETAIL, SIGN UP TO OUR FREE MONTHLY NEWSLETTER OFF TO THE RIGHT.
Every month we will bring you great tips and inside information on the world of independent filmmaking, directly from the filmmakers themselves, instead of some magazine or blog writer. People that are actually in the field and can tell you how things are in the real world.
Making a film is a fantastic thing, if you can survive the process of making one, if you reach that final cut, I congratulate you sir or madam, you have truly accomplished something many will only dream of doing. Nevermind what the new crop of moronic film critics might say (it seems everyone with a blog can become a critic now days), what is important is what the distributor says, do they like it?, is it something they can sell?, MOST IMPORTANTLY…DO YOU HAVE DELIVERABLES?!!!
Once your film is done, its not over, not by a long shot. Every studio will ask you to deliver the film in its basic elements, sound-picture-extra features for DVD or Pay-Per-View. The catch is, this costs a fortune, and every element, every master tape with an element needs to go through a process called “QC”, or “quality control”.
Its kind of like a test that a video or film lab gives you, and you must pass this quality test, a very expensive test..I might add. If not, you have to take it again, paying for it again.
$$, it adds up, thousands of dollars indie filmmakers don’t have.
IF YOU WOULD LIKE TO SEE AN EXCLUSIVE VIDEO EXPLAINING THIS IN DETAIL, SIGN UP TO OUR FREE MONTHLY NEWSLETTER OFF TO THE RIGHT.
Every month we will bring you great tips and inside information on the world of independent filmmaking, directly from the filmmakers themselves, instead of some magazine or blog writer. People that are actually in the field and can tell you how things are in the real world.
Thursday, August 13, 2009
A LASTING IMAGE Part 1
I tend to speak a lot in technical terms, what I like about this blog is that I can be a film fan again. As one works in this biz one tends sometimes to forget about that love... So lets talk film.
I knew I wanted to shoot pictures from early on because I always dissected the film frames I was watching. The use of lenses and lighting which differentiated one Director from the other.
Usually a great Director will give his or her film a defined look, a feel that is only his.....That is one of the things that makes a great Director great.
But great images are not only about lighting and framing, its about the moment, the message being expressed in that frame, the emotional power of that moment:
EXCALIBUR
Since I was a kid I knew JOHN BOORMAN framed and shot things differently, his films just looked..."better", more polished. Excalibur is a triumph of costume design and lighting. In Excalibur, he decided to shine lights with green gels on all the knight's armors, and it looked amazing.
LAWRENCE OF ARABIA
DAVID LEAN was a great Director that started as a great Editor, and he always made his films look epic. Never one to compromise, he left images that will last 1000 years. Like the famous cut with Peter O'Tool blowing the match and then cutting from that close up to THIS extreme wide shot...priceless in 65mm!
THE LONG GOOD FRIDAY
One of the real best gangster films ever, John Mackenzie's masterpiece ends with a lengthy shot of BOB HOSKINS in the back seat of a car, once a powerful gangster, now knowing that his girlfriend will be killed, so will his family, and he will be tortured and then killed too...and there is nothing he can do. The shot stays, and stays and then fades to black. I will never forget it.
MARATHON MAN
One of the frustrating things about teaching films to young students is that most of them will never see knockout stuff like this, thinking "old is boring". The amazing Laurence Olivier scared the crap out of me as a child and to this day his scene as the "dentist" with Dustin Hoffman is an example of tension and just pure film making. "Is it safe?"..if you have seen this...you'll know.
STAR WARS
I know this film has been seen by the entire human race...I remember seeing this on a Cinerama screen on a 70mm print (35mm blow up), and here is an example of patience, something most of today's director's seem to forget. The frame tilts up and stays a bit showing us the blackness of space, then this massive ship enters the top of the frame. My then 6 year old jaw dropped and I knew I wanted to make films forever.
2001, PATHS OF GLORY and THE SHINING
Stanley and the trusty 18mm or 25mm lens, always wanting deep focus and always creating memorable images. I loved his compositions and his use of production design. Of Stanley Kubrick there is nothing left to say.
THE FOG
Yes, I know...not John Carpenter's best, but he knew how to make smaller projects look better, look bigger, look w-i- d- e- r. One of the few Director's that in his prime knew how to make things look more cinematic. In The Fog, an old fashioned ghost story, there are great wide screen moments, like the very last shot, when the priest gets killed.
ALIEN
When the Alien comes out John Hurt's chest, Cinema was never the same again. Ridley Scott instead of giving us a cheesy 70's version of space (like Logan's Run, which was still fun though...)...he made the characters real, they were blue collar workers, miners, it became a template for almost every space film that came after for many years..
HOW THE WEST WAS WON
I recently saw a Blu Ray version of this old favorite...and, its full of so many memorable imagery. They only had 2 lenses, since this CINERAMA process was new, so they could not get real close ups, and the image size was staggering, amazingly wide. But the best craftsmenHollywood could buy were showing their stuff here. If you see it, see it on Blu ray, it reminded me why I got into this crazy biz in the first place.
Well, that's enough for today, I'll add more things on this topic later.
Wednesday, August 5, 2009
The Business of Film Festivals
So many film festivals, so little time.
Since 2004, there have been over 650 film festivals in the US alone. That's almost 2 festivals per day. Many of these festivals charge average entry fees of anywhere from $25-$50. Some are lower (or even free), some are higher (Telluride charges $95 and selects only 20 feature films).
We recently submitted The Sacred to two festivals, Toronto International Film Festival and Toronto After Dark Film Festival. With submission fees and shipping costs it ended up costing us about $300 to do this. I dont know about you, but we've spent all our money just finishing the movie!
Toronto International was a long shot and we got the rejection letter from them at a nice price of $75. Toronto After Dark with our entry fee of $70 was the surprise. They only selected 17 features and 28 short films and got well over 700 submissions. So I started doing the math, let's see 700 x $55 average entry fee = $38,500.
I remember when we entered into Sundance 2009 (another long shot) and I got the rejection letter from Geoffrey Gillmore. He had said that they had to whittle down to 200 films from the 9,000 submitted. Yes 9,000!
So, of course I did the math and took the average from short films and feature entry fees and came up with this simple equation: $50 x 9,000 = $450,000
Almost a half of million dollars off the backs of independent filmmakers.
Where does all this money go? Hmmmmm.....since I have had the pleasure of volunteering for the Sundance Film Festival, I know it doesn't go to paying many people that actually work the festival. It could go towards paying the full timers or housing the volunteers.
When I worked the Sundance festival I was put on the staff that handled all the "official" Sundance parties. I was at a different party every night and they had free booze and great catered food and name bands and famous DJs. That memory comes back to me as I wonder where my entry fee went to in Sundance, Toronto, and After Dark.
And I wonder, how many "volunteers" played about 5 minutes of each film before tossing it aside. I know for a fact that a reputable film festival once had a not so reputable person in charge of it and his idea of selection was viewing only the first few minutes of a handful of films and pawning the rest off to his friends to make the selection. Thankfully that person has since been removed.
A number of unscrupulous individuals have also jumped on the film festival wagon and are putting up fraudulent film festivals. They can scam a filmmaker from the entry fee to the additional services like marketing materials. It's all a scam and beware of anyone who invites you to their festival and then wants you to pay. If you ever get an invitation it should always be free of charge.
Please learn from our mistakes, be wise, do research on the festival, see how many years its been in business, how many films are selected versus how many get submitted, and enter early to save money. On Withoutabox you can look up festivals that are specifically under $15 or free to enter. You can also sign up for discounts too. With over 2 film festivals happening per day there are many choices and many smaller festivals to suit your genre.
If you have to try the big dogs (Toronto, Sundance, Cannes, Berlin) know that it is like putting your money on only one number on the roulette wheel in Vegas.
Actually Vegas may have better odds.
Since 2004, there have been over 650 film festivals in the US alone. That's almost 2 festivals per day. Many of these festivals charge average entry fees of anywhere from $25-$50. Some are lower (or even free), some are higher (Telluride charges $95 and selects only 20 feature films).
We recently submitted The Sacred to two festivals, Toronto International Film Festival and Toronto After Dark Film Festival. With submission fees and shipping costs it ended up costing us about $300 to do this. I dont know about you, but we've spent all our money just finishing the movie!
Toronto International was a long shot and we got the rejection letter from them at a nice price of $75. Toronto After Dark with our entry fee of $70 was the surprise. They only selected 17 features and 28 short films and got well over 700 submissions. So I started doing the math, let's see 700 x $55 average entry fee = $38,500.
I remember when we entered into Sundance 2009 (another long shot) and I got the rejection letter from Geoffrey Gillmore. He had said that they had to whittle down to 200 films from the 9,000 submitted. Yes 9,000!
So, of course I did the math and took the average from short films and feature entry fees and came up with this simple equation: $50 x 9,000 = $450,000
Almost a half of million dollars off the backs of independent filmmakers.
Where does all this money go? Hmmmmm.....since I have had the pleasure of volunteering for the Sundance Film Festival, I know it doesn't go to paying many people that actually work the festival. It could go towards paying the full timers or housing the volunteers.
When I worked the Sundance festival I was put on the staff that handled all the "official" Sundance parties. I was at a different party every night and they had free booze and great catered food and name bands and famous DJs. That memory comes back to me as I wonder where my entry fee went to in Sundance, Toronto, and After Dark.
And I wonder, how many "volunteers" played about 5 minutes of each film before tossing it aside. I know for a fact that a reputable film festival once had a not so reputable person in charge of it and his idea of selection was viewing only the first few minutes of a handful of films and pawning the rest off to his friends to make the selection. Thankfully that person has since been removed.
A number of unscrupulous individuals have also jumped on the film festival wagon and are putting up fraudulent film festivals. They can scam a filmmaker from the entry fee to the additional services like marketing materials. It's all a scam and beware of anyone who invites you to their festival and then wants you to pay. If you ever get an invitation it should always be free of charge.
Please learn from our mistakes, be wise, do research on the festival, see how many years its been in business, how many films are selected versus how many get submitted, and enter early to save money. On Withoutabox you can look up festivals that are specifically under $15 or free to enter. You can also sign up for discounts too. With over 2 film festivals happening per day there are many choices and many smaller festivals to suit your genre.
If you have to try the big dogs (Toronto, Sundance, Cannes, Berlin) know that it is like putting your money on only one number on the roulette wheel in Vegas.
Actually Vegas may have better odds.
Saturday, July 18, 2009
11 FILM INFLUENCES - BORROWING FROM THE BEST!
Lets talk influences. The films you see shape in many ways what your visuals (as a Director and DP) look like. What your "style" will be. Its a great school in many ways...
Most of the truly great directors learn from the past and "borrow" from the styles, camera angles, editing choices, etc, of great films.
Certain films from my past have shaped my style of shooting and actually saved me in times of trouble on a set. I can always go to my "mind" bag of tricks, tricks I learned from these films.
I could name the usual suspects, the classic films everyone knows, "Jaws", "The Shining", "The Godfather"...but no...I always tended to explore and look for more obscure films.
Give these a try, you won't regret it!
ALTERED STATES (1980) Ken Russell
This one blew my mind and still does. Great editing and use of simple but killer visuals to portrait "hallucinations" on screen. Plus it introduced William Hurt as a force in Hollywood.
A great example of intelligent Science Fiction.
DON'T LOOK NOW (1973) Nicolas Roeg
A fantastic film that uses "color" as a symbol of tragic things to come. In this case, the RED coat on a little girl. Great use of locations (Venice) and a great script.
DOCTOR ZHIVAGO (1965) David Lean
If you want to learn to frame for 2:35 aspect ratio, this one is one of those to see. Plus beautiful lighting all around. I could also mention "Lawrence of Arabia" and "Bridge over River Kwai" from the same director, but this one did it for me.
BLOW OUT (1981) Brian De Palma
When it comes to set pieces, framing and blocking, Brian is one of the few masters. You could see most of his films in MUTE, because the imagery is so expressive...it tells the story perfectly.
This one has excellent examples of widescreen framing and the use of silence in a scene. Watch also "Carrie" and "Dressed to Kill" by the same director.
VIDEODROME (1983) David Cronenberg
David always tells dark and twisted stories, like this one. He likes to use the same 50 mm lens most of the time. Everyone of his films has that one visual that stays with you, just like Kubrick...there is always amazing ideas at play, no matter the budget. Watch his entire filmography!
SUSPIRIA (1977) Dario Argento
The film that basically taught me to use color in film. A masterpiece of operatic horror, Italian style. An example of the "bigness" one can achieve by knowing how to use the 2:35 aspect ratio canvas. A must watch.
DEAD CALM (1989) Phillip Noyce
3 characters and a boat, and lots of thrills. This one, just like "12 Angry Men" by Sidney Lumet and "Lifeboat" by Hitchcock, taught me tricks on how to keep things interesting visually with few props, only a few characters and ONE location. Phillip Noyce, just like another great Australian Director, George Miller, knew how to make things low budget look huge.
SATYRICON (1969) Fellini
Only Fellini can make films like this. Symbolism everywhere, insane ideas a studio would never touch today. This film blew me the hell away, its a little twisted and very "Italian". Fellini was always creating a world of dreams and ideas, this is the perfect example of that.
LETS SCARE JESSICA TO DEATH (1973)
This is a gem. A ZERO budget wonder that I only saw a few years ago. An eerie atmosphere is created very simply and great performances by an unknown cast elevate this to a new level.
For fans of slow and evolving terror and not the current crap-fest we call "horror".
EXCALIBUR (1980) John Boorman
John Boorman is a "maestro" of framing. His films always look amazing, cinematic. The use of production design, costumes and framing in this is still awesome. THIS is a film I always borrow from. But also from him, watch "Hell in the Pacific" and "Deliverance".
MAGIC (1978) Richard Attenborough
This one is a great example of pacing, atmosphere and cutting between actors during a scene with 2 characters, one of them being a puppet!
Anthony Hopkins gives another magnificent performance. This freaked me out as a child.
Not perfect, but still a must see.
Feel free to COMMENT below and name key films that have affected you and REMEMBER:
TRY DIFFERENT THINGS, OLDER FILMS ARE A GREAT SOURCE OF IDEAS AND YOU MIGHT BE SHOCKED TO FIND SOME AMAZING THINGS.
AS A FILMMAKER, DON'T JUST WATCH WHAT JUST CAME OUT, GO OUT AND DIG AROUND AND FIND THE GEMS THAT WILL HELP YOU IN YOUR CAREER.
Jose!
Thursday, July 16, 2009
Did Twitter Kill Bruno?
After Bruno's opening day on Friday of $14 million, how could the movie just end up with $30.4 million for the whole weekend? That's not nearly enough to cover all the lawsuits filed against Sasha Baron Cohen.
According to Richard Corliss at TIME, “‘Bruno’s box-office decline from Friday to Saturday indicates that the film’s brand of outrage was not the sort to please most moviegoers - and that their tut-tutting got around fast. Bruno could be the first movie defeated by the Twitter effect.”
Based on word of mouth, Twitter in particular, has been providing audiences with instant and quick reviews of films from friends or other trusted sources. All that translates into box office dollars.
So if you guys thought Twitter was just about telling your friends you're eating a hamburger, think again. Twitter, Facebook, MySpace & LinkedIn can also be thought of as money, big money. It can make or break a Hollywood film at the box office even with a huge advertising budget.
Or it can make your independent film go to places that it would normally never reach. It's an exciting time for independent filmmakers.
You CAN make a movie and you can make money off it too. See how we do.
Follow our tweets.
Monday, July 6, 2009
The 2009 Florida Film Incentive is doubled by Charlie Crist to 10.8 million
Attention Florida Filmmakers! Now is the time to cash in on your movies. Beginning July 1, 2009 and ending June 30, 2010 you are able to get cash back for film & television projects that shoot here in Florida.
This year, 10.8 million dollars are up for grabs. That number is double last year's 5 million. It's clear that Crist wants to boost the local entertainment business by trying to attract filmmakers from all over to shoot in our beautiful state.
Here's a quick view of what rebates are offered with various budgets:
1. General Production- TV, Commercials and Music Videos
$625,000+
Eligible for 15 - 22% Cash Rebate
2. General Production - Multiple Commercials and Music Videos
$500,000+ combined / $100,000+ per production
Eligible for 15 - 20% Cash Rebate
3. Independent Florida Filmmaker
Indie Florida Feature Films or Documentaries 70 minutes or longer
$100,000 - $625,000
Eligible for 15 - 17% Cash Rebate
4. Digital Media Projects/Interactive Entertainment
$300,000 or more
Eligible for 10% Cash Rebate
Florida’s incentive is a cold hard cash reimbursement. The producer will receive a check for the full amount listed. You have 180 days to start principal photography after your application date.
For more info on submitting an application visit: Film Florida
This year, 10.8 million dollars are up for grabs. That number is double last year's 5 million. It's clear that Crist wants to boost the local entertainment business by trying to attract filmmakers from all over to shoot in our beautiful state.
Here's a quick view of what rebates are offered with various budgets:
1. General Production- TV, Commercials and Music Videos
$625,000+
Eligible for 15 - 22% Cash Rebate
2. General Production - Multiple Commercials and Music Videos
$500,000+ combined / $100,000+ per production
Eligible for 15 - 20% Cash Rebate
3. Independent Florida Filmmaker
Indie Florida Feature Films or Documentaries 70 minutes or longer
$100,000 - $625,000
Eligible for 15 - 17% Cash Rebate
4. Digital Media Projects/Interactive Entertainment
$300,000 or more
Eligible for 10% Cash Rebate
Florida’s incentive is a cold hard cash reimbursement. The producer will receive a check for the full amount listed. You have 180 days to start principal photography after your application date.
For more info on submitting an application visit: Film Florida
Thursday, July 2, 2009
5 Tips for Making your Micro Budget HD projects Look Like Film
Here are a few tips, if I may and if you are interested, for making your micro budget projects look a little bigger, or at least very close to the film format. I know its very generic, but these are just general tips:
1) D.O.F
Shallow depth of field, shallow depth of field!, even if you are a fan of deep focus, when shooting digital shallow depth of field is a way to make actors pop more on screen, to direct the audience's eyes towards them and it simply looks very cinematic.
-Try to shoot with your iris WIDE OPEN
-SEPARATE talent from backgrounds (walls, set).
-use longer lenses, it helps.
You'll discover that the lens your camera has is more than enough. I see kids getting all these extra lenses, for what?, you want a 50mm?, then move back 10 feet and zoom in some more. yes, the D.O.F in digital is a tad different than a real film lens but its really very close.
2) 24 frames per second is truly 24 frames per second if your SHUTTER IS RUNNING AT 1/48th of a second!!!!!!!!!!!!!.
Most digital cameras need to have the shutter placed at 1/48th of a second!!!!!!!!!!!. that's the aproximate amount of time the film gate/ shutter stays open when the negative gets exposed at 24fps on a film cameras...
yes! HD is motion picture, pictures ARE moving, you want to avoid the cheesy motion "blur" that you see in digital?, want this thing to look like film?, then switch shutter to 1/48 second.
3) Lighting, lighting lighting. I don't mean expensive gear....most indies can only afford a crappy light kit or work lights ,,,THEN start directing the lights the right way. If the light source comes from where the camera is, then its going to be FLAT!, what you see most of the time is what you get. Light as things look in real life.
-If you are outside, don't let SUN LIGHT fall on actor's faces frontally, place the actors so the sun is backlighting them.
-Windows are great, they can be the main source of light, no need to fill anything.
-I remember a group of filmmakers blasting a living room set with tons of light, it looked like a freaking Alien Abduction, I asked..."does a living room look this bright during the day?"...that's all it took. LIGHT FOR REALITY, AS THINGS LOOK IN REAL LIFE, WHAT YOU SEE MOST OF THE TIME IS WHAT YOU GET.
4) I've said this so many times I am sick of it....
WATCH OLDER FILMS, WATCH OLDER FILMS, YES, THEY ARE NOT BORING, YES WATCH STUFF THAT HAPPENED BEFORE 1995, YES THEY ARE NOT BORING, BE DARING, DISCOVER STUFF. WHAT IS THE ONE THING THAT MOST AMAZING DIRECTORS HAVE IN COMMON???? (drum roll please...)....THEIR SENSE OF HISTORY AND A HUGE BAG OF TRICKS THAT THEY TOOK FROM OLDER FILMS!!!!!!!!
CRAP IN= CRAP OUT
you are what you consume, vary your diet of films. It will help you be at least a productive filmmaker.
5) here is a silly one....if you are shooting in 16x9, try cropping the frame to 2:35/1 aspect ratio. its better ( at least for me), to frame with a rectangle than a square. Also, it adds a sense of "bigness" to the whole thing...
I am not a god at what I do, but I am more than capable in a pinch to provide a Director or Producer with a lovely, right for the moment - shot or image....and this is because of little silly tips like the ones above.
Anyway, these are simple thoughts, I'll add some more later on.
1) D.O.F
Shallow depth of field, shallow depth of field!, even if you are a fan of deep focus, when shooting digital shallow depth of field is a way to make actors pop more on screen, to direct the audience's eyes towards them and it simply looks very cinematic.
-Try to shoot with your iris WIDE OPEN
-SEPARATE talent from backgrounds (walls, set).
-use longer lenses, it helps.
You'll discover that the lens your camera has is more than enough. I see kids getting all these extra lenses, for what?, you want a 50mm?, then move back 10 feet and zoom in some more. yes, the D.O.F in digital is a tad different than a real film lens but its really very close.
2) 24 frames per second is truly 24 frames per second if your SHUTTER IS RUNNING AT 1/48th of a second!!!!!!!!!!!!!.
Most digital cameras need to have the shutter placed at 1/48th of a second!!!!!!!!!!!. that's the aproximate amount of time the film gate/ shutter stays open when the negative gets exposed at 24fps on a film cameras...
yes! HD is motion picture, pictures ARE moving, you want to avoid the cheesy motion "blur" that you see in digital?, want this thing to look like film?, then switch shutter to 1/48 second.
3) Lighting, lighting lighting. I don't mean expensive gear....most indies can only afford a crappy light kit or work lights ,,,THEN start directing the lights the right way. If the light source comes from where the camera is, then its going to be FLAT!, what you see most of the time is what you get. Light as things look in real life.
-If you are outside, don't let SUN LIGHT fall on actor's faces frontally, place the actors so the sun is backlighting them.
-Windows are great, they can be the main source of light, no need to fill anything.
-I remember a group of filmmakers blasting a living room set with tons of light, it looked like a freaking Alien Abduction, I asked..."does a living room look this bright during the day?"...that's all it took. LIGHT FOR REALITY, AS THINGS LOOK IN REAL LIFE, WHAT YOU SEE MOST OF THE TIME IS WHAT YOU GET.
4) I've said this so many times I am sick of it....
WATCH OLDER FILMS, WATCH OLDER FILMS, YES, THEY ARE NOT BORING, YES WATCH STUFF THAT HAPPENED BEFORE 1995, YES THEY ARE NOT BORING, BE DARING, DISCOVER STUFF. WHAT IS THE ONE THING THAT MOST AMAZING DIRECTORS HAVE IN COMMON???? (drum roll please...)....THEIR SENSE OF HISTORY AND A HUGE BAG OF TRICKS THAT THEY TOOK FROM OLDER FILMS!!!!!!!!
CRAP IN= CRAP OUT
you are what you consume, vary your diet of films. It will help you be at least a productive filmmaker.
5) here is a silly one....if you are shooting in 16x9, try cropping the frame to 2:35/1 aspect ratio. its better ( at least for me), to frame with a rectangle than a square. Also, it adds a sense of "bigness" to the whole thing...
I am not a god at what I do, but I am more than capable in a pinch to provide a Director or Producer with a lovely, right for the moment - shot or image....and this is because of little silly tips like the ones above.
Anyway, these are simple thoughts, I'll add some more later on.
Film/HD
I have been watching some amazing indie film clips on YOUTUBE and VIMEO, truly cool stuff. I congratulate these fellow filmmakers, they are out there doing it, and that is a wonderful thing....
Sometimes, because of budget problems, or simply because some camera people are just too eager to shoot without studying a bit of the cinematography craft ( no problem there, I was the same), the imagery suffers and the project truly looks low budget.
First of all, right off the bat, lets clear the myth. yes film is a better format, but HD can compete and sometimes even look better (yes, I've done it). I am a film guy and for most of my career film has been my bread and butter.. BUT its time to RESPECT BOTH formats, be open minded and start shooting, no matter the format.
Film and HD are B O T H great, most of the time HD stuff looks crappy because the operator IS crappy.
THE CAMERA IS NOT THE THING, THE PERSON BEHIND THE CAMERA IS THE MAIN THING. JUST BECAUSE YOU HAVE A CAMERA DOESN'T MAKE YOU A CINEMATOGRAPHER, YOU HAVE TO LEARN THE CRAFT!
I keep hearing things like " I got the RED camera and stuff like that"...The RED ain't going to make your project "pretty", YOU ARE.
So go and study the craft, be a true Director, DP or Editor, or whatever, study the craft.
It is an awesome time to be a filmmaker!!!!!!!
Sometimes, because of budget problems, or simply because some camera people are just too eager to shoot without studying a bit of the cinematography craft ( no problem there, I was the same), the imagery suffers and the project truly looks low budget.
First of all, right off the bat, lets clear the myth. yes film is a better format, but HD can compete and sometimes even look better (yes, I've done it). I am a film guy and for most of my career film has been my bread and butter.. BUT its time to RESPECT BOTH formats, be open minded and start shooting, no matter the format.
Film and HD are B O T H great, most of the time HD stuff looks crappy because the operator IS crappy.
THE CAMERA IS NOT THE THING, THE PERSON BEHIND THE CAMERA IS THE MAIN THING. JUST BECAUSE YOU HAVE A CAMERA DOESN'T MAKE YOU A CINEMATOGRAPHER, YOU HAVE TO LEARN THE CRAFT!
I keep hearing things like " I got the RED camera and stuff like that"...The RED ain't going to make your project "pretty", YOU ARE.
So go and study the craft, be a true Director, DP or Editor, or whatever, study the craft.
It is an awesome time to be a filmmaker!!!!!!!
Wednesday, July 1, 2009
ME and FILM
Just finishing up a long day promoting the last film, SECOND COMING. At this point I have to go back to THE SACRED, the new film...
What a pain in the behind my friends....
I am humbled by the experience of making a film. Years ago, when I was riding high as a DP, I always made fun and looked down at producers and sometimes at Directors. "they don't know what they are doing...", "Oh, this is amateur hour"...I used to say.
I really didn't know how hard it was for those people to get to that moment where I was, to get the machine started, to get the funding, to pre-produce it, to carry the project to the very end.
I, as the cameraman, shot the thing and left at the end of the day with a fat paycheck....I didn't know about the sacrifice these people, these crazy people had to do. Well now I know. Now that I have decided to create films myself, now I know how insane but in the end extremely amazing making films is.
And it doesn't end with the year long battle of getting it finished, its just the beginning, its just phase ONE.
Then you have the DELIVERABLES..., the dreaded deliverables, the place that most filmmakers forget to think about during budget time, the place where you will bleed most of your budget sometimes.
This involves the master of the film, both in 16x9 and 4x3, trailers also in various formats, sound mix in various formats, all of it, Also each element has to go through a lab where they do a "quality control" check or QC. Each QC is like $700 and the almost 15 to 25 elements you have to turn in have to have a QC...
If you don't do this, you don't get distributed..., then you have the insurance (what they call E&O insurance), which is like $10,000. But wait...we haven't even dealt with finding a distributor!!!
That takes weeks and lots of cash preparing quality screeners, complete with artwork, dealing with bull shit from people who want your film and want to screw you at the same time...
I realize I am not gay ( not that there is anything wrong with that), because I have been screwed in my behind so many times and I still get no pleasure out of it!
In short, its a pain in the culo.
All of it so in the end some punk ass kid with a website, no clue about filmmaking, no history (for most of these creatures anything before 1995 is old and boring), and no university degree, calling himself a CRITIC reviews your film and sometimes you get lucky and you get a good review, sometimes not.
BUT in the end, its the audience. We filmmakers, just like most artists, want to be loved, and want to leave something behind.
I enjoy the process, I love filmmaking like my first love, Music. I cannot imagine doing anything else.
I've sacrificed love, relationships, friendships, so much...for this, this crazy thing, this insane dream, and you know what?...I don't care, I LOVE IT. I realize I am lucky to know what I want...so many of us don't know this, so I am blessed. And I am lucky to have realized my dream of shooting with the best (sometimes with the worst). I dreamed it as a kid and I went out and freaking did it.
Creating an image, seeing an actor take one of your lines to amazing places, creating something out of nothing will always be a blessing, a privilege and the most kick ass thing I've ever done.
What a pain in the behind my friends....
I am humbled by the experience of making a film. Years ago, when I was riding high as a DP, I always made fun and looked down at producers and sometimes at Directors. "they don't know what they are doing...", "Oh, this is amateur hour"...I used to say.
I really didn't know how hard it was for those people to get to that moment where I was, to get the machine started, to get the funding, to pre-produce it, to carry the project to the very end.
I, as the cameraman, shot the thing and left at the end of the day with a fat paycheck....I didn't know about the sacrifice these people, these crazy people had to do. Well now I know. Now that I have decided to create films myself, now I know how insane but in the end extremely amazing making films is.
And it doesn't end with the year long battle of getting it finished, its just the beginning, its just phase ONE.
Then you have the DELIVERABLES..., the dreaded deliverables, the place that most filmmakers forget to think about during budget time, the place where you will bleed most of your budget sometimes.
This involves the master of the film, both in 16x9 and 4x3, trailers also in various formats, sound mix in various formats, all of it, Also each element has to go through a lab where they do a "quality control" check or QC. Each QC is like $700 and the almost 15 to 25 elements you have to turn in have to have a QC...
If you don't do this, you don't get distributed..., then you have the insurance (what they call E&O insurance), which is like $10,000. But wait...we haven't even dealt with finding a distributor!!!
That takes weeks and lots of cash preparing quality screeners, complete with artwork, dealing with bull shit from people who want your film and want to screw you at the same time...
I realize I am not gay ( not that there is anything wrong with that), because I have been screwed in my behind so many times and I still get no pleasure out of it!
In short, its a pain in the culo.
All of it so in the end some punk ass kid with a website, no clue about filmmaking, no history (for most of these creatures anything before 1995 is old and boring), and no university degree, calling himself a CRITIC reviews your film and sometimes you get lucky and you get a good review, sometimes not.
BUT in the end, its the audience. We filmmakers, just like most artists, want to be loved, and want to leave something behind.
I enjoy the process, I love filmmaking like my first love, Music. I cannot imagine doing anything else.
I've sacrificed love, relationships, friendships, so much...for this, this crazy thing, this insane dream, and you know what?...I don't care, I LOVE IT. I realize I am lucky to know what I want...so many of us don't know this, so I am blessed. And I am lucky to have realized my dream of shooting with the best (sometimes with the worst). I dreamed it as a kid and I went out and freaking did it.
Creating an image, seeing an actor take one of your lines to amazing places, creating something out of nothing will always be a blessing, a privilege and the most kick ass thing I've ever done.
Wednesday, June 17, 2009
FLORIDA FILMMAKING
The Florida film scene CAN be the beginning of a great thing...There is so much potential out here, great crews, writers, Directors, Actors...Everything you need to make great films.
But one of the many things that has kept the whole thing down is the amount of people who just cannot say anything positive. People that produce nothing, do nothing and who love to talk crap, just baseless, meaningless crap.
In LA, this is a hobby, a tradition, but the industry is so big...it all gets diluted. Here, when this happens.... it is lethal.
Just recently we've had various films being produced here. It doesn't mater to me if they are good or bad, HEY!! films are getting made!!!!
"This Man's Life", "The Tenant", "The Sacred", "Zombies, Zombies, Zombies", "Into The Forest" and many more are FILMS that could be the spark.... THE START OF SOMETHING GREAT!!
So please, if you are part of this filmmaking community, and if you really need to say something negative... without any basis or facts, just because you are bitter or just depressed, or simply in disagreement...DON'T. Please Don't, you are not helping at all.
During the shoot of THE TENANT, a wonderful film shot last year, they were people saying on forums around town that the film was actually a trailer! and that the producers were not to be trusted (?). All lies, as the film was one of the best produced films I have ever worked in.
During THE SACRED, they were people that said to our student crew that they should not work without pay, that the producers were using them...Really?, I had to work 1 year for FREE for Roger Corman before I could start getting paid...and the crew, as far as I know, had a blast. We loved it!
I could keep on going, but for what?
What we need is for everyone to work together and support each other down here.!!!!
So for the people that support and that truly love cinema, you guys are AMAZING...for the ones who have nothing good to say...well I'll say it in Spanish, "Besenme el culo".
Thank you.
Jose
But one of the many things that has kept the whole thing down is the amount of people who just cannot say anything positive. People that produce nothing, do nothing and who love to talk crap, just baseless, meaningless crap.
In LA, this is a hobby, a tradition, but the industry is so big...it all gets diluted. Here, when this happens.... it is lethal.
Just recently we've had various films being produced here. It doesn't mater to me if they are good or bad, HEY!! films are getting made!!!!
"This Man's Life", "The Tenant", "The Sacred", "Zombies, Zombies, Zombies", "Into The Forest" and many more are FILMS that could be the spark.... THE START OF SOMETHING GREAT!!
So please, if you are part of this filmmaking community, and if you really need to say something negative... without any basis or facts, just because you are bitter or just depressed, or simply in disagreement...DON'T. Please Don't, you are not helping at all.
During the shoot of THE TENANT, a wonderful film shot last year, they were people saying on forums around town that the film was actually a trailer! and that the producers were not to be trusted (?). All lies, as the film was one of the best produced films I have ever worked in.
During THE SACRED, they were people that said to our student crew that they should not work without pay, that the producers were using them...Really?, I had to work 1 year for FREE for Roger Corman before I could start getting paid...and the crew, as far as I know, had a blast. We loved it!
I could keep on going, but for what?
What we need is for everyone to work together and support each other down here.!!!!
So for the people that support and that truly love cinema, you guys are AMAZING...for the ones who have nothing good to say...well I'll say it in Spanish, "Besenme el culo".
Thank you.
Jose
FILMMAKING AND FILM STUDENTS- My View
One of the things I've always been interested in is to work and be surrounded with people with passion, at least people with my same interests.
I've always looked for cool and interesting people to work with. In the biz I always wanted to learn from the best...so I went out and looked for the best. And always...I felt that INSANE desire of shooting in film ( and playing music too).
There was always a desire for knowledge, to get better at something, to learn from a good source, etc. To hell with whatever wall was placed in front of me, no matter how hard...I would climb it and conquer.
I have the privilege of teaching Cinematography, what I consider the BASIS of filmmaking. The art of blocking, framing, lighting and bringing the story written on the page into the screen. This is it.... where the magic happens.
Any director that seriously calls himself or herself a Director NEEDS to know these concepts.
I would assume the students that come to these classes I teach have at least...a little interest in the subject. In fact, me being me, I expect everyone to be insanely fanatic about the subject.
But the reality is that not everyone is going to be interested, and that's ok. But in my situation, not many are interested!!!.and this is before any teacher utters a word.
Of course, there are always exceptions...out of 100 I usually get at least 5 to 10 jewels. Great students that ASK the right questions and that truly look to learn as much as they can. SPONGES, enthusiastic and full of drive. Those people make the process worthwhile. SO I AM NOT TALKING BAD ABOUT THOSE PEOPLE AT ALL, lets be clear about this part.
I understand if Cinematography is not your thing...honest I really do, but this is filmmaking and you cannot avoid reality.
It seems to me that the new generation of film students going to a film school are more full of complaints that of actions. Quentin Tarantino once said...: " In film school you have Film MAKERS and Film FANS.." Not many want to do the hard work.
In the past I've invited an average of 50 to 60 students to shoots to end up with 3 to 4 left the following day. As soon as they realize it's work, they vanish.
I see film fans everyday, not many filmmakers.
It seems that the majority wants everything served to them, but not many want to go out and practice, polish their skills, fill the remaining 50% they won't get in school.
I am confronted at times with a class that sits in front of a HD or 35mm camera and cannot wait to leave the class and go home. When I was in my early 20's I was prepared to kill and go to prison if I had to in order to touch a 35mm camera!
I have students that fail to realize that life is short and the time of action is NOW. They come to me and tell me they will direct when they leave school. But yet I see more and more of them working eventually at Taco Bell.
PASSION AND LOVE for the craft. If you don't have it, accept it, know it and don't waste your time. Or mine.
That passion that drives people like Tony Scott, Robert Rodriguez, Quentin Tarantino and Wes Anderson and many more dedicated filmmakers seems lost.
It seems easy to complain and blame something else, and (like I've been guilty of in the past) many fail to put that giant mirror in front of them and confront the truth.
And as professional I face week after week countless of clueless directors that are unable to simply block a scene. They just turn to me and ask me to make it look pretty. Then I see those same directors get fired, and fade away.
For the future filmmakers reading this, the ones in school, here are some tips:
-You have to love this, really love it, like you cannot leave without it. Like sex, like breathing, like eating.
-You have to practice, if you don't have a film camera, take still pictures (even if its a "Tickle Me Elmo" shitty Fisher Price Camera), practice framing, practice blocking, just go out and practice some part of the craft.
Go out, right now, do something about your career.
(and this goes for the actors too, you know the ones that woke up one day and decided to do acting, and then only go for the lead role without a clue, experience or study, its a CRAFT, study it!!!!)
-Learn to observe, look how lighting affects people, faces, structures. be aware of your surroundings. There, "its a dude putting gas on his car tank"...how would you block or frame this scene?, how?
-Watch older films, not just the new crapfest on the new release section in Blockbuster. Most films now days look and feel the same (not all but the majority). SEE Hitchcock, Kubrick, dePalma, Lumet, Scorcese, Scott, Cronenberg, etc, compare those to other filmmakers, take notes, how does one person block versus the other one, what made them different?. How do they tell a story versus the other filmmaker?
Its like an athlete getting ready for the Olympics, you have to eat the right food and nutrients.
-Never cease to be excited about filmmaking. What can you do TODAY to enhance or improve your skills?, ask that always.
Among students I constantly hear..."well, they never told us that or this, etc..."...oh well:
Mr. Sean Connery in THE ROCK said it best:
"LOSERS ALWAYS WHINE ABOUT GIVING THEIR BEST...WINNERS GO HOME AND FUCK THE PROM QUEEN"
I think, when it comes to life and to film, that sums it all perfectly.
Thanks
Jose
I've always looked for cool and interesting people to work with. In the biz I always wanted to learn from the best...so I went out and looked for the best. And always...I felt that INSANE desire of shooting in film ( and playing music too).
There was always a desire for knowledge, to get better at something, to learn from a good source, etc. To hell with whatever wall was placed in front of me, no matter how hard...I would climb it and conquer.
I have the privilege of teaching Cinematography, what I consider the BASIS of filmmaking. The art of blocking, framing, lighting and bringing the story written on the page into the screen. This is it.... where the magic happens.
Any director that seriously calls himself or herself a Director NEEDS to know these concepts.
I would assume the students that come to these classes I teach have at least...a little interest in the subject. In fact, me being me, I expect everyone to be insanely fanatic about the subject.
But the reality is that not everyone is going to be interested, and that's ok. But in my situation, not many are interested!!!.and this is before any teacher utters a word.
Of course, there are always exceptions...out of 100 I usually get at least 5 to 10 jewels. Great students that ASK the right questions and that truly look to learn as much as they can. SPONGES, enthusiastic and full of drive. Those people make the process worthwhile. SO I AM NOT TALKING BAD ABOUT THOSE PEOPLE AT ALL, lets be clear about this part.
I understand if Cinematography is not your thing...honest I really do, but this is filmmaking and you cannot avoid reality.
It seems to me that the new generation of film students going to a film school are more full of complaints that of actions. Quentin Tarantino once said...: " In film school you have Film MAKERS and Film FANS.." Not many want to do the hard work.
In the past I've invited an average of 50 to 60 students to shoots to end up with 3 to 4 left the following day. As soon as they realize it's work, they vanish.
I see film fans everyday, not many filmmakers.
It seems that the majority wants everything served to them, but not many want to go out and practice, polish their skills, fill the remaining 50% they won't get in school.
I am confronted at times with a class that sits in front of a HD or 35mm camera and cannot wait to leave the class and go home. When I was in my early 20's I was prepared to kill and go to prison if I had to in order to touch a 35mm camera!
I have students that fail to realize that life is short and the time of action is NOW. They come to me and tell me they will direct when they leave school. But yet I see more and more of them working eventually at Taco Bell.
PASSION AND LOVE for the craft. If you don't have it, accept it, know it and don't waste your time. Or mine.
That passion that drives people like Tony Scott, Robert Rodriguez, Quentin Tarantino and Wes Anderson and many more dedicated filmmakers seems lost.
It seems easy to complain and blame something else, and (like I've been guilty of in the past) many fail to put that giant mirror in front of them and confront the truth.
And as professional I face week after week countless of clueless directors that are unable to simply block a scene. They just turn to me and ask me to make it look pretty. Then I see those same directors get fired, and fade away.
For the future filmmakers reading this, the ones in school, here are some tips:
-You have to love this, really love it, like you cannot leave without it. Like sex, like breathing, like eating.
-You have to practice, if you don't have a film camera, take still pictures (even if its a "Tickle Me Elmo" shitty Fisher Price Camera), practice framing, practice blocking, just go out and practice some part of the craft.
Go out, right now, do something about your career.
(and this goes for the actors too, you know the ones that woke up one day and decided to do acting, and then only go for the lead role without a clue, experience or study, its a CRAFT, study it!!!!)
-Learn to observe, look how lighting affects people, faces, structures. be aware of your surroundings. There, "its a dude putting gas on his car tank"...how would you block or frame this scene?, how?
-Watch older films, not just the new crapfest on the new release section in Blockbuster. Most films now days look and feel the same (not all but the majority). SEE Hitchcock, Kubrick, dePalma, Lumet, Scorcese, Scott, Cronenberg, etc, compare those to other filmmakers, take notes, how does one person block versus the other one, what made them different?. How do they tell a story versus the other filmmaker?
Its like an athlete getting ready for the Olympics, you have to eat the right food and nutrients.
-Never cease to be excited about filmmaking. What can you do TODAY to enhance or improve your skills?, ask that always.
Among students I constantly hear..."well, they never told us that or this, etc..."...oh well:
Mr. Sean Connery in THE ROCK said it best:
"LOSERS ALWAYS WHINE ABOUT GIVING THEIR BEST...WINNERS GO HOME AND FUCK THE PROM QUEEN"
I think, when it comes to life and to film, that sums it all perfectly.
Thanks
Jose
SACRED LINKS YOU SHOULD SEE!
SUPPORT INDIE FILMMAKING!!!
Here are some links that you should visit:
For the latest SACRED Trailers, go to these links:
http://www.vimeo.com/4511934
http://www.vimeo.com/4512036
For an exclusive, behind the scenes look at the making of this indie thriller, check this out!:
http://www.vimeo.com/4496890
Also,
For the SECOND COMING trailer, our last film, coming out on DVD everywhere JUNE 30th, check out:
http://www.vimeo.com/4496890
Here are some links that you should visit:
For the latest SACRED Trailers, go to these links:
http://www.vimeo.com/4511934
http://www.vimeo.com/4512036
For an exclusive, behind the scenes look at the making of this indie thriller, check this out!:
http://www.vimeo.com/4496890
Also,
For the SECOND COMING trailer, our last film, coming out on DVD everywhere JUNE 30th, check out:
http://www.vimeo.com/4496890
THE SACRED BLOG
Hello friends of THE SACRED!!. On this blog we will talk movies, independent filmmaking (tips, formats, etc) and also updates on our thriller, THE SACRED.
Also, to our visitors, feel free to post or ask us anything related to making movies, the film business in general.
Welcome to you all.
Also, to our visitors, feel free to post or ask us anything related to making movies, the film business in general.
Welcome to you all.
Tuesday, June 16, 2009
Monday, June 1, 2009
Subscribe to:
Posts (Atom)
