Transcription
Producing and Directing theShort Film and Video
Producing and Directing theShort Film and VideoFourth EditionPeter W. ReaDavid K. IrvingAMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORDPARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYOFocal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier30 Corporate Drive, Suite 400, Burlington, MA 01803, USAThe Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK#2010 ELSEVIER Inc. All rights reserved.No part of this publication may be reproduced or transmitted in any form or by any means, electronic ormechanical, including photocopying, recording, or any information storage and retrieval system, withoutpermission in writing from the publisher. Details on how to seek permission, further information about thePublisher’s permissions policies and our arrangements with organizations such as the Copyright ClearanceCenter and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.This book and the individual contributions contained in it are protected under copyright by thePublisher (other than as may be noted herein).NoticesKnowledge and best practice in this field are constantly changing. As new research and experience broaden ourunderstanding, changes in research methods, professional practices, or medical treatment may becomenecessary.Practitioners and researchers must always rely on their own experience and knowledge in evaluating and usingany information, methods, compounds, or experiments described herein. In using such information or methodsthey should be mindful of their own safety and the safety of others, including parties for whom they have aprofessional responsibility.To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume anyliability for any injury and/or damage to persons or property as a matter of products liability, negligence orotherwise, or from any use or operation of any methods, products, instructions, or ideas contained in thematerial herein.Library of Congress Cataloging-in-Publication DataIrving, David K.Producing and directing the short film and video / David K. Irving, Peter W. Rea. – 4th ed.p. cm.Includes bibliographical references and index.ISBN 978-0-240-81174-1 (alk. paper)1. Short films–Production and direction. 2. Video recordings–Production and direction. I. Rea, Peter W.II. Title.PN1995.9.P7I75 2010791.43020 32–dc222009046285British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.ISBN: 978-0-240-81174-1For information on all Focal Press publicationsvisit our website at www.elsevierdirect.com10 11 12 13 14 5 4 32 1Printed in the United States of America
ContentsWeb Contents . .Preface . . . . .AcknowledgmentsIntroduction . . .Timeline . . . . .Chapter 1:. xixiii. xvxviixxiiiStudent Fundraising StrategiesDirector . . . . . . . . . . . . . .Pitching the Project . . . . . .The Elevator Challenge . . . .Steps to a Successful Pitch . .Key Points . . . . . . . . . . . .333434343435Script . . . . . . . . . . . . . . 1The Creative Producer . . . . . . . 1Developing the Script . . . . . . . 1Do Your Homework . . . . . . . . 2What Is a Script? . . . . . . . . . . 3What Does a Script Look Like? . . 3Where Do Scripts Come From? . . 4How Are Scripts Developed? . . . 6Adaptation . . . . . . . . . . . . . 7Legalities . . . . . . . . . . . . . . 8Basic Guidelines for the ShortForm . . . . . . . . . . . . . . 9Collaboration . . . . . . . . . . . 14What Do You Do Now? . . . . . 17True Stories and Events . . . . . . 17Director . . . . . . . . . . . . . . . . 18Supervising or PerformingRewrites . . . . . . . . . . . . 18Working with the Writer . . . . . 18Director as Storyteller . . . . . . 18Story Questions . . . . . . . . . . 19Scene Analysis . . . . . . . . . . 19The Shooting Script . . . . . . . . 19How Do Scripts Affect Budgets? . 20Animation . . . . . . . . . . . . . 20Documentaries . . . . . . . . . . 20Developing a Web Presence . . . 21Key Points . . . . . . . . . . . . . . 22Chapter 2: Finance . . . . . . . . . . . 23Producer . . . . . . . . . . . . . . .Raising the Capital . . . . . . . .Basic Fundraising Problems . . .Funding Options . . . . . . . . .Do Your Research . . . . . . . .The Prospectus . . . . . . . . . .Spending the Money Responsibly .The Digital Prospectus . . . . . .General Fundraising SuggestionsSources for Students . . . . . . .23232324262732323233Part IPreproductionChapter 3: Breakdowns . . . . . . . . . 45Producer . . . . . . . . . . . .Breaking Down the Script .Production Book . . . . . .Proper Script Format . . . .Breaking Down the Script .Director . . . . . . . . . . . . .Storyboards and Floor PlansDeveloping a Shooting PlanThe Final Word . . . . . . .Key Points . . . . . . . . . . .45454546465151526061Chapter 4: Schedule . . . . . . . . . . . 63Producer (as ProductionManager) . . . . . . . . . . . . .Building a Stripboard . . . . . . .General Guidelines . . . . . . . .Beginning the Schedule . . . . .Creating the Schedule . . . . . .The First Day . . . . . . . . . . .Making the Day . . . . . . . . . .Shooting During Preproduction .Locking the Schedule . . . . . . .Call Sheet . . . . . . . . . . . . .Scheduling Documentaries . . . .Student Scheduling Tips . . . . .Web Presence for the Project . .Director . . . . . . . . . . . . . . . .Determining the Visual Plan . . .Coverage ¼ Time ¼ Schedule ¼Budget . . . . . . . . . . . . .Contingency Plans for Overages .Things Change . . . . . . . . . .Key Points . . . . . . . . . . . . . .63636368696969717172747475757575767676v
viContentsChapter 5: Budget . . . . . . . . . . . . 77Producer . . . . . . . . . . .Creating a Budget . . . . .Production Value . . . . .Script and Budget . . . . .Who Creates the Budget?Budgeting Software . . . .The Budget Form . . . . .Beginning the Budget . . .Learn by Doing . . . . . .Director . . . . . . . . . . . .Shooting for the Moon . .Key Points . . . . . . . . . .777777787878789192939394Chapter 6: Crewing . . . . . . . . . . . 95Producer . . . . . . . . . . . . . . . 95Hiring the Crew . . . . . . . . . . 95Who Hires the Crew? . . . . . . 95When Do You Need a Crew? . . 95How Big a Crew Do You Need? . 95Selecting the Crew . . . . . . . . 96Key Crew Members . . . . . . . . 98Developing the Right Chemistry 107Web Presence . . . . . . . . . . 108Director . . . . . . . . . . . . . . . 108Hiring the Crew . . . . . . . . . 108Director’s Disease . . . . . . . 109Key Points . . . . . . . . . . . . . 109Chapter 7: Casting . . . . . . . . . . .Producer . . . . . . . . . . .Auditions . . . . . . . . .The Casting Director . . .The Basic Casting Steps .Added Benefits of CastingWeb Presence . . . . . . .Director . . . . . . . . . . . .Auditions . . . . . . . . .Casting . . . . . . . . . .Audition Guidelines . . .Casting the DocumentaryKey Points . . . . . . . . . .Chapter 8:.111.Art Direction . . . . . . .Producer . . . . . . . . . . . . .Assembling the Team . . . . .Production Design . . . . . .The Art Department . . . . .Images Can Tell a Story . . .Responsibilities of the ArtDepartment . . . . . . . . .Communication with the DP .Set Dressing . . . . . . . . . 124124. 125. 126. 127Props . . . . . . . . . . . . . .Wardrobe . . . . . . . . . . . .Makeup . . . . . . . . . . . . .Hair . . . . . . . . . . . . . . .Animation . . . . . . . . . . . .The Producer’s Role . . . . . .Web Presence . . . . . . . . . .Director . . . . . . . . . . . . . . .Creating a Look . . . . . . . . .Architect of Illusion . . . . . . .How to Define the “Look” . . .Breakdowns: Listen to the Script .Defining the Space with VisualIdeas . . . . . . . . . . . . .Camera Tests . . . . . . . . . .Key Points . . . . . . . . . . . . .Chapter 9: Location . . . . . . . . . .Producer . . . . . . . . . . . . .Securing Locations . . . . . .Where to Look for Locations .Scouting the Locations . . . .Securing the Location . . . .Director . . . . . . . . . . . . . .Scouting Locations . . . . . .Aesthetic Concerns versusPractical Limitations . . . .Be Flexible . . . . . . . . . .The Power of Illusion . . . . .Identifying the Location . . .Walk-throughs . . . . . . . .Key Points . . . . . . . . . . . er 11: Camera . . . . . . . . . .Director . . . . . . . . . . . . . .Collaborate . . . . . . . . . .Keeping Up with TechnologyStyle . . . . . . . . . . . . . .138138138139Chapter 10: Rehearsals . . . . . . . . .Director . . . . . . . . . . . . .Working on Scenes . . . . .Before Rehearsals . . . . . .Developing Mutual Trust . .Researching the Character .Back Story . . . . . . . . . .Rehearsals . . . . . . . . . .Shape the Scene . . . . . .Communicating on the Set .Interviews . . . . . . . . . .Producer . . . . . . . . . . . .Rehearsal Schedule . . . . .Key Points . . . . . . . . . . 50150150152153154155155155157.157157157157
viiContentsListen to the Material . . . .Documentary . . . . . . . .Do Your Homework . . . .Consult with the Director ofPhotography . . . . . . .Camera Team . . . . . . . .Basic Decisions . . . . . . .Film Stock . . . . . . . . . .Digital Video Format . . . .Tests . . . . . . . . . . . . .The Camera as Storyteller .The Frame . . . . . . . . . .Size of Shot . . . . . . . . .Camera Movement . . . . .Editing . . . . . . . . . . . .Continuity . . . . . . . . . .Second Unit . . . . . . . . .Greenscreen . . . . . . . . .Lighting Style . . . . . . . .Equipment . . . . . . . . . .Video . . . . . . . . . . . .Video Formats . . . . . . .Other Equipment . . . . . .Tricks . . . . . . . . . . . .Integrating Animation . . .Producer . . . . . . . . . . . .Support . . . . . . . . . . .Technical Considerations . .Key Points . . . . . . . . . . . . 158. . 158. . 158.Chapter 12: Sound . . . . . . . . . . .Director . . . . . . . . . . . . . . .Recording Clean Tracks . . . .Why Getting Good Sound Is SoImportant . . . . . . . . . . .The Sound Team . . . . . . . .The Equipment . . . . . . . . .Responsibilities of the SoundTeam . . . . . . . . . . . . .Approaches to RecordingSound . . . . . . . . . . . . .Variables for PlacingMicrophones . . . . . . . . .Recording Concerns . . . . . .Video Sound . . . . . . . . . .Documentary . . . . . . . . . .Web Site Information . . . . . .Producer . . . . . . . . . . . . . .Controlling the Environment . .Equipment Needs for the ShootHow Big of a Sound Packageand Crew Do You Need? . .Key Points . . . . . . . . . . . . 212213214215215215215216216217Chapter 13: Art on Set . . . . . . . . .Director . . . . . . . .Guide . . . . . . .Final Walk-throughSet Procedures . .Set Dressing . . . .Props . . . . . . .Wardrobe . . . . .Makeup . . . . . .Hair . . . . . . . .Additional Crew .Producer . . . . . . .Keeping Track . . .Cover Sets . . . . .Wrapping Up . . .Key Points . . . . . Part IIProductionChapter 14: Set Procedures . . . . . .Director . . . . . . . .Inspires . . . . . .Organized Chaos .Set Etiquette . . . .A Typical Day . .Camera Moves . .Video Tap . . . . .Digital Assistant . .Slates . . . . . . .Calling the Shot . .Script Supervision .Dailies . . . . . . .Producer . . . . . . .Coordinate . . . .Guidelines . . . . .Proper Wrap Out .Key Points . . . . . .229.Chapter 15: The Actor . . . . . . . . .Director . . . . . . . . . . . . . . .Direct . . . . . . . . . . . . . .The Process . . . . . . . . . . .Technical Requirements forthe Actor . . . . . . . . . . .The Director’s Tools . . . . . .Types of Characters . . . . . . .Directing Actors . . . . . . . .Interviewing for DocumentariesProducer . . . . . . . . . . . . . .Accommodating . . . . . . . 41243243243243244246246249250251251
viiiContentsSocializing . . . . . . . . . . . 251Contracts and Deal Memos . . 251Key Points . . . . . . . . . . . . . 252Part IIIPostproductionChapter 16: Pix Postproduction . . . .Director . . . . . . . . . . . . . . .The “Final Draft” . . . . . . . .The Director as Editor . . . . .The Editor . . . . . . . . . . . .The Editor Speaks . . . . . . . .The Documentary Editor . . . .The Editing Process . . . . . . .What Is Editing? . . . . . . . . .Evolution of the Edit . . . . . .Locking the Picture . . . . . . .Technical Considerations WhenEditing Film on Video . . . .Digital Basics . . . . . . . . . .Basic Workflow of a NonlinearEditing System . . . . . . . .Editing Sequences . . . . . . .Basic Sound Editing . . . . . .Special Digital Video Effects . .Animation . . . . . . . . . . . .Film to Video . . . . . . . . . .The P2 Workflow . . . . . . . .Producer . . . . . . . . . . . . . .Advise . . . . . . . . . . . . . .What You Want from a System? .What Is Available? . . . . . . .Editing Room . . . . . . . . . .Postproduction Schedule . . . .Stepping Back and LookingAhead . . . . . . . . . . . . .Key Points . . . . . . . . . . . . .Chapter 17: Sound Postproduction . 75277278280280280280280281281283284285Director . . . . . . . . . . . . . . . 285Sound Design . . . . . . . . . . 285What Is Sound Design? . . . . . 285Respect for Sound . . . . . . . 286What Is a Soundtrack? . . . . . 287Post Flow Options . . . . . . . 287Spotting . . . . . . . . . . . . . 289Dialogue Tracks . . . . . . . . 290Automatic Dialogue Replacement(ADR) . . . . . . . . . . . . . 291Walla . . . . . . . . . . . . . . 293Voice-overs and Narration . . . 293Sound Effects Tracks . . . . . . 294Music Tracks . . . . . . . .The Mix . . . . . . . . . . .Different Formats . . . . . .Music Tips for Students andBeginners . . . . . . . . .Producer . . . . . . . . . . . .Supervising Postproduction. . .And Distributors . . . . .The Moral . . . . . . . . . .Key Points . . . . . . . . . . . . 296. . 300. . 300.Chapter 18: Finishing/Online/Laboratory . . . . . . . .301305305306306306307Director . . . . . . . . . . . . . . .The Finished Look . . . . . . .The Choices . . . . . . . . . . .Film Workflow . . . . . . . . .Opticals . . . . . . . . . . . . .Cutting the Negative . . . . . .Film Matchback . . . . . . . . .Timing . . . . . . . . . . . . . .Types of Prints . . . . . . . . .Traditional Linear VideoOnline . . . . . . . . . . . .Video-to-Film Transfer . . . . .Nonlinear Online Edit . . . . .Animation and CGI: Renderingand Compositing . . . . . . .Producer . . . . . . . . . . . . . .Keeping Track and LookingAhead (and Back IfNecessary) . . . . . . . . . .Looking Ahead/Key Points . . hapter 19: Distribution/Exhibition .319Producer . . . . . . . . . . . . .Launching the Film . . . . . .Start Early: Have A Plan fromthe Beginning . . . . . . .The Markets . . . . . . . . . .Exhibition . . . . . . . . . . .The Internet . . . . . . . . . .YouTube . . . . . . . . . . . .iTunes . . . . . . . . . . . . .Internet Sites . . . . . . . . .Cell Phones . . . . . . . . . .DVD . . . . . . . . . . . . . .Television . . . . . . . . . . .Theatrical Markets . . . . . .Nontheatrical Markets . . . .Foreign Markets . . . . . . . .Distribution Options . . . . . 319. 319.320320320322323323323324324324324324326327
ixContentsDirector . . . . . . . . . . . . . . . 330Publicity . . . . . . . . . . . . . 330The Academy Awards . . . . . 335AppendixAppendixAppendixAppendixABCDA Short History of the ShortGenres and Animation . . .Script Sample . . . . . . . .Screening List . . . . . . .Film. . . . . . .337339343351Appendix E Safety Issues . . . . . . . . . . .Appendix F Music Clearance and InsuranceAppendix G State Film Commissions . . . .Appendix H Film and Media Programs . . .Glossary . . . . . . . . . . . . . . . . . . . .Bibliography . . . . . . . . . . . . . . . . .Index . . . . . . . . . . . . . . . . . . . . .355361365369373389395
Web ContentsVisit the companion site ea/and use passcode IRV2UT98SW69 to login; on thecompanion site, you will find:ContentsWeb Site Extras for Lunch DateWeb Site Extras for CitizenWeb Site Extras for A Nick in TimeWeb Site Extras for TrumanWeb Site Extras for Crazy GlueWeb Site Extras from Mirror MirrorInformation on Web DevelopmentAssociationsDistributorsFilm and Video FestivalsGrants and Financing SourcesImportant Internet SitesWeb Site Extras on Sound and MicrophonesTraditional Film and Video Post ProductionFORMS to download, save, and print, including:Script Breakdown SheetHeader and StripboardCall SheetShort Budget Top SheetRelease FormLocation ContractShort Budget-2Short Budget-3Short Budget-4Short Budget-5Animation Budgetxi
Preface: Fourth EditionSince the third edition, the range of options available forthe beginning filmmaker has multiplied tenfold. High definition (HD) has integrated itself firmly into production,distribution, and exhibition. A camera has been developedthat is essentially a lens mounted on a computer (TheRED). Professional postproduction software once linkedto an editing system that filled a room can now be loadedonto a laptop. Essentially, anyone with a digital cameraand a laptop is able to create a film that has the look andfeel of a professional product.Equally noteworthy, social networking channels suchas YouTube, MySpace, FaceBook, and Twitter havealtered the communication landscape. Broadband hashelped usher in a true “Convergence of Media.”Insomuch as digital technology has transformed howfilms are made and distributed, “film” is very much aliveas a professional capture format and still (for now) theprimary exhibition format for feature films. Implementationof digital projection systems and satellite delivery are stillon the horizon.Very few of these changes affect the text in this book.Telling a story visually is juxtaposing one image withanother and then next to another, the sum of which makesa narrative, documentary, animation, or experimentalpiece. However one captures the image, manipulates iteditorially, or projects it for an audience, the basic stepsof visual storytelling have been the same for the hundredplus years since film was invented. Technologicaladvances can aid the process, but not sidestep any of thesteps. The responsibilities of a producer and a directorare directly tied to their hearts and minds, not their toys.No matter what the tools, art is created out of the heart.In this age of multiple media sources competing for ourattention, it is important to understand that “content” is stillking. More and more festivals have been sprouting up yearly.Making your presence felt in the expanding market for shortsand a flooded Internet requires that you create a product thatrises above the thousands of daily entries. Having somethingto say and saying it well never goes out of fashion.To aid you in your quest, this edition boasts the additionof two new narrative films, one filmed in Super 16mm andone in 35mm. We have included a strategy for using a website designed for your project as an effective tool for preproduction, production, and distribution that is woven in the textand expanded on our web site with several case studies.Our web site at www.focalpress.com/companions willalso include links for the short films, all the forms in thisbook, plus much important information for the beginningfilmmaker. Besides updating the book to address newtechnologies, we have been fortunate to receive commentsand suggestions from many of our readers since the bookwas originally published. We are happy to make changesto better explain a concept or illustrate a point.EFFICIO COGNOSIO (LEARN BY DOING)There is no substitute for experience. In this book,we want to emphasize the importance of the School ofHard Knocks. Whether you are in a film or media programor making a project on your own, this is an excellent timeto be studying filmmaking.There is no better way to learn how to make a filmthan by actually doing it. Books and manuals can serveas guides. Other films can act as inspiration, and talkingabout and critiquing films can trigger ideas. However,the two best teachers are failure and success. Experiencingthe process of putting together a project, building workmuscles, and understanding the craft and discipline ofthe process are ultimately the best ways to developyour skills.THE POWER OF THE MEDIAFinally, your short film has the potential to influence agreat many people. Both media have gained great exposure in the past 20 years, and their potential is growingrapidly. All indications are that by the year 2010,products from the communications industry will be theUnited States’ chief export commodity.Coupled with the wide distribution of these media isthe issue of the power of their content to influence. Weare now grappling with crucial problems, from overpopulation to racial discrimination, from management of theearth’s resources to the management of human resources.Film and video have a powerful voice in the dialogueabout these challenges. Our hope is that in expressingyourself in this fashion, you will consider the world inwhich it will be viewed and will use your talents wisely.xiii
AcknowledgmentsFIRST EDITIONWe would like to thank the following people who assisted usin the writing of this book—in particular, the faculty, staff,and students at New York University, Tisch School of theArts, Undergraduate Film and Television: Arnold Baskin,John Canemaker, Pat Cooper, Carlos DeJesus, TomDrysdale, Carol Dysinger, Dan Gaydos, Fritz Gerald, ChatGunter, Ron Kalish, Julia Keydel, Marketa Kimbrall, DanKleinman, Lou La Volpe, Rosanne Limoncelli, Ian Maitland,Barbara Malmet, Rick McKinney, Lynne McVeigh, LamarSanders, Julie Sloane, George Stoney, Nick Tanis, DarrylWilson, Brane Zivkovic, and especially Steven Sills. Also,New York University Professor Richard Schechner, whosaw an early version of Producing and Directing the ShortFilm and Video.We would also like to thank Mitchell Block, JohnButman, Steve Hanks, the law firm of Rudolf & Beer,Doug Underdahl, Nancy Walzog, and a special thanks toCarol Chambers for her continued support throughout thewriting process and Steve West for his editing skills.We would also like to thank Ken Bowser, HamiltonFish, Jr., David Gurfinkel, Tova Neeman, Priscilla Pointer,and Robert Wise, for inspiration and encouragement.For the editorial and production skills they provided toFocal Press, we would especially like to thank Mary EllenOliver, Marilyn Rash, and Judith Riotto, who made theprocess of assembling these final pages a rewarding one.SECOND EDITIONSpecial thanks to Mitchell Block, John Butman, JohnCanemaker, Michael Carmine, Gary Donatelli, Fritz Gerald, Fred Ginzberg, Chat Gunther, Milly Itzack,Suzie Korda, Dow McKeever, Stevin Michals, MarshaMoore, Mo Ogrodnik, Sam Pollard, Paul Thompson,Mike Thornburgh, Mika Salmi, Simon Lund, and LamarSanders.Also, special thanks to Terri Jadick for her patienceand support and Maura Kelly for her production skills.THIRD EDITIONSpecial thanks to Norman Bebell, Mitchell Block, JohnCanemaker, Michael Carmine, Michelle Coe, Fritz Gerald,Joe Hobeck, Marsha Moore McKeever, Jamaal Parham,David Russell, David Spector, and Debra Zimmerman.Special thanks to Lou LaVolpe. We are also indebtedto Etgar Keret for allowing us to reprint his short story.Adding a fourth film would not have been possible without the contributions made by filmmaker extraordinaireTatia Rosenthal and the dean of the Savannah School ofthe Arts, Peter Weishar.FOURTH EDITIONSpecial thanks to Geoffrey Erb, Marsha Moore McKeever,Dow McKeever, Jeff Stolow, Stevin Michels, Steve Elliot,Scott Bankert, Alex Raspa, Jessalyn Haefele, Gavin Keese,Camilla Toniolo and Amos Katz.Special thanks to Howard Beaver and John Nymarkyfor their invaluable contributions.Special thanks to Kevin Cooper, Kim Nelson, andGary Goldsmith for their editorial advice.And finally, special thanks to Jane Dashevsky for herincredible patience, Melinda Rankin for her productionskills, and Elinor Actipis for her continued support.xv
IntroductionWhy make a short film? The idea of being in a darkenedscreening room and watching your film touch an audienceis exciting. There is deep satisfaction in communicatingon this basic level. The fantasy of creating something thathas an emotional impact on others is what motivates manypeople to go into picture making in the first place.There is, also, the artistic satisfaction.Most short works are created to give filmmakers anopportudnity to express themselves, display their talent, anddevelop filmmaking skills; to experiment with the medium;or to provide a stepping stone to a career in film and television. The key advantage to making a short is learning thefilmmaking process on a project of manageable scale.If the work turns out well, shorts can be entered into any ofthe hundreds of national and international festivals. They provide validation for your filmmaking skills and opportunities tomeet people who can further your career. The producer anddirector can parlay awards and the fame of winning competitions into meetings, agents, and (ideally) employment.The market for “shorts” has been traditionally limited.Rarely did shorts recoup their investments, let alone makemoney. For these reasons, the creation of a short work wasusually motivated by considerations other than profit.Over the years, however, opportunities for distributionand exhibition have grown substantially. Traditional distribution outlets still exist (see Chapter 19), but the shortfilm can now be exhibited to a worldwide audience acrossmyriad platforms. With this kind of exposure comeexpanding opportunities for beginners to profit from theirwork. From iTunes to iPods to webisodes, the short formfinds itself a good fit with the new technologies of thetwenty-first century.INTERNETWhat has made many of these opportunities for filmmaking possible is the growth of the Internet and its potentialto create an integrated and consistent message across allmedia. As you develop your short film idea, the web canbe used to promote awareness of your project, to raisefunds, to reach out to cast and crew, and eventually toact as a distribution outlet. The Internet is a tool and, assuch, can be employed to whatever extent you wish. Wewill outline many of the possibilities throughout the book.It is up to you, the filmmaker, to decide to what extent youwish to avail yourself of its possibilities.CRAFT VERSUS ART ANDCOLLABORATIONMoving pictures are arguably the greatest art form of thetwentieth century. After all, the medium combines elements of literature, art, theater, photography, dance, andmusic, but is in itself a unique form. For the sake of allbeginning filmmakers who read this book, we take offthe pressure by refusing to emphasize the creation of art.Instead, we stress the craft of storytelling, and telling astory well is not an easy task. Telling a short story wellis even more difficult.For us, it is difficult to think of filmmaking as an “artmaking” endeavor. Orson Welles probably did not intendto make art when he conceived and produced CitizenKane. Instead, he probably set out to make the best filmhe could from a particular script. The result was a wellcrafted film, which was later deemed to be one of thefinest feature films ever made and ultimately came to beconsidered “art.” This label has more to do with the consensus of a critical audience long after the fact than it doeswith the intention of the filmmaker. Our advice to you isto set out to shoot the best short story you can and letthe audience decide whether it is art.Let’s not give Welles all the credit for the success ofCitizen Kane. Filmmaking is a collaborative enterprise inwhich many creative people lend their expertise to thedirector’s vision. Too many ingredients affect the outcomeof a film to allow any one person to take credit for its success. Welles himself said that “making a film is like painting a picture with an army.” He thought so much of thecontribution of his cinematographer, Greg Toland, to thefilm’s success that he shared a card with him in the closingcredits of Citizen Kane.Above all, to make a successful short film, the entirecreative team must share a passion for the material andthe process. If there is no passion, the process will be nomore than going through the motions of manufacturing aproduct. Lack of passion shows on the screen.WHAT ARE THE STEPS?How do you go about making a successful short film? Picture making is a complex and demanding activity, even forthe experienced. A myriad of problems inevitably arisesinvolving script, crew, budget, casting, lighting, and soxvii
xviiiIntroductionon. Each project has its own unique set of challenges.For example, one film might need a difficult location suchas Grand Central Station; another might call for a schoolgymnasium or an old-fashioned barbershop.One script might require a talented young boy whomust also be meek and scrawny; another might need ahomeless person. One project might run out of moneybefore postproduction; another budget might not allowfor crucial special effects. Even before starting production,you must understand sophisticated technical crafts;resource management; political and social interaction;and personal, financial, and
Film and Video Festivals Grants and Financing Sources Important Internet Sites Web Site Extras on Sound and Microphones Traditional Film and Video Post Production FORMS to download, save, and print, including: Script Breakdown Sheet Header and Stripboard Call Sheet Short Budget Top Sheet Release Form Location Contract Short Budget-2 Short .
