Starting Out In The Screen Industry
Tell people’s stories in a way that makes a difference. Giving the audience the experience, an intense ride, feel what the experience would have been like, put them there.
Do you tackle your video production projects entirely on your own? Here’s everything you need to know about working as a “shreditor.”
Warner Bros is giving a voice to burgeoning underrepresented filmmakers. The studio hosted a short film festival to cap off its Emerging Film Directors Workshop, where each member of the inaugural class showcased their work in front of industry professionals last Thursday on the WB lot in Burbank. The event was the culmination of a nine-month fellowship, in which participants where given a budget of $100K to make a short film through a process that mimics WB’s feature process from script to the final cut.
REC Ya Shorts Youth Film Festival 2017 is now nearly two months into its workshops program on the Mid North Coast. Young people across regional NSW are encouraged to enter a short film before the deadline of 21 August 2017 to be in the running to win a share of the $25,000 prize pool, including Blackmagic Design cinema cameras and AFTRS courses.
Thinking of entering but stuck on a film idea? Need to beg, borrow, or steal a camera? Not sure about editing? Coffs Harbour local, Mirco Guidon, aged 23, a winner of REC Ya Shorts in 2015 and 2016, shares five tips to help…
Many of these are directly relevant to filmmaking, while others may not have a direct correlation, but can deliver valuable lessons that will positively impact a filmmaker’s artistic aspirations and/or career.
The devastating Chilean earthquake of 2010 damaged over 370,000 homes. The city of Talca was near its epicentre, and many historic neighbourhoods were left in ruins. Casa Antúnez is an intimate portrait of one beloved home in Talca, and how its destruction reveals a divided family.
“We began work on “Kong: Skull Island” two years before the film was released. Director Jordan Vogt-Roberts was very clear about his vision and stressed the importance that Kong not feel derivative, particularly of the recent Peter Jackson version. Yet, we were dealing with an iconic monster.
Ultimately, we landed on a version of the 1933 Kong, where he’s no longer just a gorilla but more of his own species, this half-man, half-gorilla that walks upright and is between 100 and 200 feet tall – bigger than any previous vision.
The challenge, of course, would be to make this creature credible on screen, in real environments with live actors. Kong is such an important part of film history and we took this very seriously. There’s no way we’d be the VFX studio that took on recreating an iconic character and then didn’t deliver.” –Jeff White, VFX Supervisor, Industrial Light & Magic
Interview with Elaine Beckett: Working at Trackdown and creating sound for LEGO Batman, Gods of Egypt, The Railway Man and Happy Feet 2
Killing Ground is the first feature film from director Damien Power. Damien has directed several award-winning shorts that have screened at festivals worldwide including Venice and Busan, Sydney and MIFF. Killing Ground had its world premiere at the 2016 Melbourne International Film Festival and its international premiere at the 2017 Sundance Film Festival in the iconic Midnight Section. The film will be released in Australia in 2017 by Mushroom Pictures and sold internationally by Films Distribution.
The first step is to meet the project team – the architects and branding agency – to completely understand their vision and goals. FKD aims to align with this vision through our creative visualization by adding to the strength of the collective idea.
Fenella Kernebone is the Head of Curation for TEDxSydney, responsible for leading the programming for what has become one of the largest TEDx events in the world as well as TEDxSydney Salons. Fenella manages a team of over 20 curators and producers dedicated to spreading great ideas and strong stories in fields including science, technology, arts, business and design. Ahead of TEDx Sydney this week we spoke to Fenella about the program.
From Fisherman to Filmmaker: The Career of an Artist from the Scottish Highlands with David Hutchison,
In this entry, David shares with us how he went from filming whimsical, short animations in a cow barn with his parents to building up a successful career of writing and directing feature length films. David’s experience shows us that creating art truly takes practice, persistence and passion.
LESSON BUCKET: Brett Lamb is a media educator and writer. He is co-author of Heinemann Media, a regular contributor to the magazine Screen Education and maintains the media education website www.lessonbucket.com. Throughout his career, Brett has presented workshops and seminars on topics as diverse as comic books, film noir, superhero narratives, social networking, action movies, filmmaking, Final Cut Pro and VCE Media. He has worked for the Victorian Curriculum and Assessment Authority (VCAA), Australian Curriculum, Assessment and Reporting Authority (ACARA), the Australian Institute for Teaching and School Leadership (AITSL) and the Intellectual Property Awareness Foundation (IPAF). He currently works for East Doncaster Secondary College.
FOX’s Son of Zorn is a fresh take on the classic fish out of water story — if that story follows a Barbarian cartoon character (Zorn voiced by actor Jason Sudeikis) as he leaves his war torn home to reconnect with his human son in real world suburbia. The hybrid animation/live action comedy concept is one of the many projects the wonderful and wacky Titmouse works on out of their three studio locations in Los Angeles, New York, and Vancouver.
As I am not sure how long the Metro Screen Web site will be accessible via the link above I have posted the whole article below.
In Metro Screen’s final month we asked a few of the talented people we funded and trained in 2015 to tell us the top three things they learned about this thing we call ‘filmmaking’.
THE MAKING OF ‘WEEDS,’ A SHORT FILM BY KEVIN HUDSON by Anna Cicone (Interviewer)
Chelsea Thistlewaite – Breaks Funded Filmmaker
Be generous with ideas. A few months before we started shooting there was a lot of interest in the story, and I thought that if I shared too much the magic would disappear or change in some way. Keeping ideas to yourself only diminishes them, and telling people, getting them excited and curious is storytelling again and again. Every time you start from scratch and tell someone what your film is about you are practising how to tell the story. It sounds incredibly obvious but I found it extremely useful. Ask questions, and give honest and specific answers.
Producing and creating are different things. During pre-production and something that definitely happens on low budget, skeleton crew films is that inevitably you’re going to be doing a lot of jobs at once. This is often totally fine, and necessary to do what needs to be done for the film, but I found that I had to carve my own space where I couldn’t think of logistics or planning. Focusing on character, atmosphere, theme, and story cannot exist in the same space as logistical thinking. It took a long time to learn that they each need to exist alone.
Be a good person. It sounds really simple but I’ve learned that whatever you do is not worth it if you are not a good person in the process. There is really no reason to be rude, arrogant or demanding in any capacity, especially when people are offering their time, services and skills for often no money. Empathy is incredibly important, and allowing your collaborators to approach the project with their own thoughts and expertise always elevates the work.
Still from Tether directed by Chelsea Thistlewaite and funded by Metro Screen.
Alana Hicks – Digital Content Producing Diploma Graduate
When I went through my notes from the past six months of the Digital Content Producing course, an idea that came up repeatedly was about knowing your audience. It was said in many different ways by our main tutor Kate, by our digital guru Stuart and by numerous guest speakers. Know. Your. Audience. You have to research your target market, whoever that might be. You have to understand how they interact with the technology on which your content is presented and you have to engage, develop and build that relationship. Why else are we telling stories, if not for the eyes and ears that we hope will see and hear them? Another big takeaway was about the ecosystem of the story world; multiple platforms require specifically tailored content, the message has to be relevant to the medium. The story of “why” and the platform of “how” exist symbiotically. Lastly, my main impression from this course (which was articulated so well by Emma Morris in one of our guest lectures) was simply, to “tell stories you are truly passionate about”. In this vain, I hope to utilise the skills I developed at Metro Screen to create compelling content for a shifting and evolving digital landscape.
Behind the scenes with Alana Hicks directing a scene from web series Fix it In Post, which she created with sketch comedy collective The Kvetch Set.
Will Goodfellow – Breaks Funded Filmmaker
Prep until you can’t prep no more. Preconceive every edit point, every prop, every performance cue. The more you know your project inside and out, the freer you’ll be to experiment when things are going well, and the greater your ability to troubleshoot when the wagon falls apart.
Surround yourself with a killer team. We had an all-star crew on The Spa and it was the best shooting experience I’ve ever had. All credit goes to our producer Lucy Gaffy who, while being the sweetest person in the world, also brought our production together like it was a high stakes military operation.
Letter dropping actually works. We had a location confirmed but I felt there could be a better one out there so I decided to make a last ditch effort and start letter dropping houses. It was excruciatingly tedious but we ended up with five or six homeowners agreeing to let us recce their homes. One of them happened to be the absolute perfect location. So if all else fails – letter drop.
Behind the scenes with director Will Goodfellow and lead actor Chris Haywood from The Spa funded by Metro Screen.
Emma Bjorndahl – Digital Content Producing Graduate
Resourcefulness – utilise the connections and the people around you, and work together to achieve something bigger than anything you could have done on your own. Networking is more than just “meet and greet” it is about building true, strong and lasting relationships. I have met some wonderful people through Metro Screen, that I intend to work with again on real world projects.
Be a lifelong learner – never stop learning and adding to your skills. Metro Screen has made me realise that this course is only the beginning. I need to continuously extend my skill set and challenge myself. The course has opened my eyes to the world of possibilities as a Digital Producer, especially at this time with the industry in its infancy and exciting possibilities ahead.
A tool is just a tool – it’s about the story and the connections to human beings. Tools and new whizzbang shiny technology are just another vehicle to tell a story. A good story or a good idea transcends the tools that we are using. I have learned through this course, that it is about the human connection, that the tool should not make us feel further from our humanity but draw us closer together. This has been a particularly inspirational realisation for me.
I feel fortunate to have had the opportunity to take one of the last courses at Metro Screen. I thank all the people who made it happen and my amazing tutors. It is with great sadness that I will be saying adieu.
Image created during Emma Bjorndahl’s work as behind the scenes content and social media coordinator for Australian film Wyrmwood: Road of the Dead (2015).
Rosie Lourde – Emerging Producers Placement Graduate
Flip a coin. People say “trust your instinct” but that’s not so easy when you’re surrounded by opinions. I was once told, if you can’t decide then flip a coin. Whichever side it lands on you’ll know what you really want either through disappointment or excitement, then take it from there. Whether it’s deciding on which project to pursue, who to collaborate with, or what to eat for breakfast, your instinct is the only way to know what’s right. Don’t underestimate how important this is, it’ll keep you motivated through hard times (and there’ll be a lot over a looooong time).
Don’t flip a coin – put your hand up for everything. It’s too easy to justify why you shouldn’t apply for this grant or that placement or this initiative but even if you don’t meet all the criteria, apply. At best, you’ll be given an incredible opportunity and need to decide if you can do it. At worst, you practice application writing skills, which are necessary to a career in this industry.
Look after your health. It’s no-one else’s job – if your health goes, so does your ability to work. Balance is necessary if you’re building a career.
Behind the scenes with Rosie Lourde on location for the next season of webseries Starting From… Now! photo credit Ella Mackenzie Taylor
Daniel Collins – Practical Filmmaking Diploma Graduate
The three things I have learned or rather the three things I valued most are: teachers, students and knowledge.
I’m now on the other side of six months looking back and on the cusp of achieving a Diploma in Practical Filmmaking. I’m seeking a mentorship with an established director and also planning my five-year career goals in the film industry. Something I never would have believed possible six months ago and all of which I couldn’t have achieved if it hadn’t been for Metro Screen.
Metro Screen has given me the opportunity and confidence to discover my potential, helped me realise my dream for a career in the film industry and helped me gain comprehensive inside knowledge into the various roles a filmmaker undertakes in the production of a project. I’ve written, starred in and edited my own documentary. I have been the Director of Photography on a short drama and Camera Assistant on another, giving me practical experience in what the film production process is like.
All the knowledge I have gained, everything I have learned and unlearned about the film process, industry and everything that I have been fortunate enough to do while at Metro Screen, has only been possible because of the immense help from my teachers and the support of my fellow students.
All the practical and theoretical knowledge that has been graciously and generously passed on from the teachers and staff at Metro Screen has been invaluable and insightful. In putting these lessons into practice I have fallen and made mistakes constantly, and I would have stayed down and made the same mistakes again and again if it wasn’t for the patience and encouragement of my fellow students who helped me in my times of struggle without judgment or condescension.
Thank you Metro Screen. With the 34 years of history, experience, integrity, quality, generosity and reputation that you had when I first entered your doors, I can now say with pride and appreciation that I am a student of Metro Screen and it was an honour to be a part of your last intake.
Still from A Mathematical Equation For Human Intelligence directed by Daniel Collins during the Diploma of Practical Filmmaking.
VALE METRO SCREEN 1981-2015
Posted on Wednesday, 07 December 2016. Blog Post Courtesty of Adventure Canada – http://blog.adventurecanada.com. An interview with filmmaker-photographer Jason Van Bruggen
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