On Trees?

If your motivation to make a movie is solely for your own entertainment and satisfaction, then you can (and probably should) skip the financing stage of preproduction. Buy a cheap 3CCD camera and a Mac-Mini with iMovie already installed, get some buddies together, and shoot what will end up being at best a fond memory and embarrassing product. Use your own money for the camera ($500), computer ($1000), and snacks for your buddies ($100 - $2000 depending on length of shoot and number of fatties in your posse).

Or, buy a crappy camera ($200), install cheap movie editing software on your already sluggish PC ($0 - $200), and make your buddies provide their own snacks.

Either way, shoot the movie in your house, a buddy's house, some woods, a family business, a park, on a boat, in your garage, or any place where you won't get in trouble.

If, however, your motivation for making a movie is closer to Robert Rodriguez's, get some money. In other words, if you want to make movies as a career, secure some kind of financing for your movie. Money doesn't grow on trees, so you have to be creative in your search. I wasn't creative, and I ended up with less money than I would have liked.

Here's what I did. I researched the financial records of other movies, mostly independent movies that garnered success. Like Blair Witch, Napoleon Dynamite, Open Water, and My Big Fat Greek Wedding. I used that data and painted scenarios for potential investors to see what they could have earned had they made a similar investment in any of those movies. When you get into the 6-digit percentage returns, you can't help but at least ponder the potential.

I packaged that data with investment scenarios for my movie, a synopsis, reasons to invest, reasons not to invest (honesty is important), and answers to other anticipated questions. The neatly packaged investment prospectus was sent to my (and one of my co-producer's) closest friends and family. I was surprised by the results. Quite honestly, I had a few people I thought I could count on that didn't invest, and I had a few that surprised me by investing. I don't think any differently about anybody for the decision they made, although I am ridiculously thankful to each and every investor in Horror House.

Had I been more creative and approached others outside my ring of friends and family, I may have connected with someone willing to finance the whole movie. That's one of the many mistakes I made with Horror House. I didn't sell the product as well as I could have. I have to become a better salesman to really succeed as a producer in this field. I will.

Most who invested did so predominantly because they wanted to support my (and/or my co-producer's) endeavors in moviemaking. They don't necessarily care, nor expect, to make any money on the movie. I, of course, believe whole-heartedly they will make money. Time will tell, of course. Even if Horror House proves to be a financial failure, it was an incredibile learning experience and we have a visually impressive, entertaining story that should lead to bigger projects in the near future. I still believe Horror House will make a nice profit, but if it doesn't, the next one will, and if the next one doesn't, the next one will, and if that one doesn't... my point is, I won't give up. Never.

And that might be the biggest point out of this whole blog. If you truly have a desire to make a career out of making movies, you absolutely cannot give up. It's hard. It's scary. It's not something normal people do. But if you believe strongly enough in yourself and have received reliable, positive feedback from people who know what they are talking about, and you're willing to work harder than you've ever worked before, then don't let the imminent failures and struggles along the way deter you.

More on that later.

~ Justen

PS - The term "fatties" as used above was used in a humorous tone. I am not prejudiced against fatties, or lardasses, or fatsos, and I don't mean to offend anyone in the 400 club. Please accept my apology, which is also meant in a humorous tone. :)

I echo echo echo his thoughts

Here is an interesting (and short) article featuring British filmmaker Mike Leigh. Don't worry, I'd never heard of him either. He talks about storytellers being born, not created, and I couldn't agree with him more.

living.scotsman.com/film.cfm?id=1329522007

~ Justen

Budge It

If you don't have a budget, budge it, but don't fudge it. Hey, that's kind of catchy. Like conjuctivitis , only without the redness. But does it make sense? Here's what I mean...

Movies cost a lot of money to make. Even simple independent movies. If you haven't read "Rebel Without a Crew" by Robert Rodriguez (Spy Kids, Sin City, Grindhouse), be sure to read it. He made his first feature for $7500. And he shot on film. That's insane. He couldn't do it today for that much, and he is probably the only person who will ever pull off what he pulled off a decade and a half ago.

That said, with the advent of digital video and a community of talented people willing to work for little to nothing, it is possible to shoot a mini-DV feature for just a little more than what Mr. Rodriguez spent on his first feature, El Mariachi. The budget for Horror House, by the way, was considerably more than $7500 and it was still too small to do all I wanted to do with it.

I am no authority on movie budgets or movie making. I simply have gone through the process and am sharing my opinions based on what I learned. I mentioned in a previous blog the importance of professional sound and that is reason enough to secure enough financing to hire a qualified sound team. But it is also important to have other talented crew. With a low budget, you won't be able to pay them Union wages up front, but offer deferred payments that amount to Union or slightly above Union minimums. They may never see that money, but at least it shows you are committed to rewarding them for their efforts if indeed you are one day able. And don't underestimate the importance of food and drink on set. A happy crew is a hard working crew. We were happy and we worked hard for 12-14 hours most days.

I could go on and on about budgets, but I see this is a topic that needs to be broken down more. I will touch on specifics in upcoming blogs as well as writing more about Robert Rodriguez. He's good.

Happy birthday, Dad.

~ Justen

Good Intentions

August 1. My last entry. August 18. Today. My intentions have been to update this blog every few days, but said intentions have failed to evolve into reality. I guess life gets in the way sometimes and the editing of the movie has taken presidence over discussing it. In the [hopefully] near future, I plan to discuss myriad topics including budget, actors, SAG, recommended reading, script, legal counsel, insurance, location scouting, and Barry Bonds. Well, maybe not Barry Bonds.

For the [one or two] readers of this blog, I invite you to offer requests for discussion. About what are you curious? Respond to this entry or send me a message at hhshoot@yahoo.com. I hope to make this a helpful resource for both, um, all of you.

~ Justen

A Sound Decision

Here begins my new motive to offer tips and advice for other filmmakers. The order of the blog entries will not reflect the order of importance for the recommendations. I am not that organized.

This first recommendation is a biggie, though. HIRE A GOOD SOUND PERSON! I can't stress enough the importance of good sound in your movie. It's much easier to fool an audience's eyes than their ears. Whatever you do, don't skimp in the sound budget for your movie. If you don't have any budget to speak of (even though you should have at least SOMETHING - more on that tip later), barter with a willing and talented individual who will make it their sole purpose to record great sound for your movie.

I highly recommend my sound engineer, Jim, and my boom operator, Lion, who did a knock up job of capturing great audio even in less than ideal situations. Oh, yeah, along with a good sound engineer, you need a qualified boom operator. I didn't realize just how important it was to have a good boom operator until I saw how Lion and Jim worked together. They were absolutely seemless in their execution. Jim would set up his mini-studio 10-50 feet away from the scene and he and Lion would communicate inconspicuously through headphones as they worked out the best location for the boom.

As I've been editing the last few weeks I've been amazed at the difference between the reference audio (sound recorded by the camera) and the professionaly recorded audio. Once I replace the bad audio for the good audio, the scene really comes to life. It's an extra step in the editing process, but it is absolutely worth it.

Whatever you do, please don't use the camera's built-in microphone for your movie's audio. If you absolutely can't afford to hire a sound person, buy or rent a high-quality microphone and a boom pole and practice with a buddy willing to help you for free. Yes, spend some time practicing before you get on set. Shoot some scenes together and then cut the footage to hear what was done well and what wasn't.

But, really, get a good sound person. It's worth it.

~ Justen