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"License? We don't need no stinkin' license..."

Oops! EXCEPT for any films that anyone on this board may have produced! ;) Just my personal pet peeve, nothing that Roger Ebert would care about!

Go straight to the Northwest Film Forum, http://nwfilmforum.org, I have worked with them for 8 years and built up enough credits/experience to make the move to NYC. (But frankly NYC seems to be a great place to get started too)!

Just as an update to this thread (and the post about Star Wreck made about 4 months ago), it looks like the Star Wreck feature is ready to be released! They have built a large audience for their film over a period of about one year. I might buy it myself - because I've been checking up on them...

The "refrigerator POV" shot. Someone looks in the fridge, you see them look in the fridge from - ohmygod - inside the fridge! wow! A common variation is the mailbox POV shot. Total cheese!

Except for the truly gifted at fetching coffee and guarding trucks, unpaid PA's don't stick around on feature shoots. I know because on Police Beat we had something like 50 unpaid PA's, and guess who (me as 1st AD) had to keep track of all of them, coordinate their schedules, explain the basics...

I took my first filmmaking courses from an early incarnation of SFI ten years ago. Also definitely check out Northwest Film Forum, they are great! Since you are in Spokane, I'd visit both in person before deciding. Several PA's on my shoots came from SFI. It seems like an okay way to get...

I am moving to NYC!

It's better in my opinion to go for the feature, but wiring together 4 short stories can be harder than it looks. I like a screenplay that is "tight", as in "it all ties together", so I often pull my hair out when combining two or more storylines.. however some films like "Magnolia" and Short...

You can put together a pretty good crew with everyone (including the DP) on at $75 to $100 per day. At low pay - in my opinion - it's better to put even the DP and the PA on the same scale - the DPs I've worked with just want a break from industrial/corporate work and the egalitarianism helps...

I just saw a hilarious commercial for a paper towel brand - a real estate agent wipes a large glass window with the towel, and then later tells the home buyers that the windows are in "high definition - the latest thing" - and of course they nod.

Be sure to send your CD/reel to magnatune.com, lots of indie filmmakers buy their soundtracks from composers on that label. You might consider starting a web site and posting sample mp3's of your work. I'm sure there's students at BFI and other UK film schools that need scoring for their films!

Call him up and demand $50/day to $75/day because you are a great PA. One experienced paid PA is worth 5 unpaid inexperienced PA's. If he keeps on with his "love of film" bullshit, say this calmly into the phone: "I am excited about your project, but I have experience on other shows and if...

1. Drink one bottle of wine 2. Open the window 3. Scream: "FILM OR DIE" TRUE OR FALSE: 0) S16mm has a 2k resolution which blows 720/1080p out of the water and destroys the pretensions of HD sucka-DPs 1) a brilliant filmmaker is brilliant on film or video 2) a brillliant filmmaker would...

Okay, so based on your experience, for a $350k feature it costs $15k or 4% more to shoot S16mm. How were power requirements for Varicam? Did the camera crew constantly have to adjust for backfocus? Was it great to review shots on set? Did you get the exposure latitude and depth of field that...

Varicam/S16mm/Cinealta Comparable This is what I have as a rough estimate of costs for a 6 week feature shoot between: Varicam, S16mm --> HD , Cinealta, 35mm--> HD (Columns 2 and 3 appear repeated because I am also studying 720p vs 1080p in post - not included here) Shoot ratio is 10. For...

Clive: Congrats! Was your HD 720p or 1080p? I am currently tearing my hair own deciding between 720p (shooting on Panasonic Varicam) or S16mm --> 1080p.

Any film that has this image and its backstory will be funny:

This is a great thread - best I've read in a while. It touches on the elephant in the room with most screenplays: A screenplay can be well written, have funny quirky characters, etc. but the important question is: why would anyone give a ****? I like exploring zany invented worlds , but...

A comedy is most importantly FUNNY.