The reason why a lot of microbudget thrillers don't take off, is this:

H

harmonica44

I've watched quite a few thrillers sent from all over the world, at a film festival last year, and here's the problem with a lot of them. The steaks just simply aren't high enough. Most of the filmmakers do scripts that are about simple things, such as say... a married person is having an affair and the other lover turns out to be a psycho. Well plots like that aren't exactly groundbreaking, unless you can put the twist of the century on top of it, which they did not. Or a ghost is haunting a house with stock teenage characters, that aren't developed very originally, or compellingly. The stories just are too small to think of it simply.

It seems to me that in order for these movies from beginners to be remembered by major audiences, that the steaks just need to be set higher. Think of it as a newstory. If the plot of the movie is not big enough to be on the front page of pretty much all the nation's major newspapers for at least two weeks running, than it's probably not big enough to make for a compelling, grounbreaking thriller, that will mesmorize audiences.

I mean if you look at Fail-Safe (1964), you're on the right track. It's a low budget thriller, where most of the suspense and revealings of the plot is done simply by talking and phone conversations. So is a good idea for us to make our thrillers more compelling or do I just don't know what I'm talking about?
 
I prefer my steaks medium, but I'm not too finicky to be honest. However, if a steak is well done, I'm going to need some steak sauce.

When you talk about "higher" steaks, I assume you're talking about cooking temperature? If so, I agree -- a really high-temp flame can create a very nice sear on the outside while leaving the inside moist and tender.
 
This is a STAKE:

1291574-stake_super.jpg


stake
noun

1. something that is wagered in a game, race, or contest.

2. a monetary or commercial interest, investment, share, or involvement in something, as in hope of gain: I have a big stake in the success of the firm.

3. a personal or emotional concern, interest, involvement, or share: Parents have a big stake in their children's happiness.

4. the funds with which a gambler operates.

5. Often, stakes. a prize, reward, increase in status, etc., in or as if in a contest.

stake
noun

1. a stick or post pointed at one end for driving into the ground as a boundary mark, part of a fence, support for a plant, etc.

2. a post to which a person is bound for execution, usually by burning.

3. the stake, the punishment of death by burning: Joan of Arc was sentenced to the stake.

4. one of a number of vertical posts fitting into sockets or staples on the edge of the platform of a truck or other vehicle, as to retain the load.


This is a STEAK:

TBoneSteak1.jpg


steak
noun

1. a slice of meat or fish, especially beef, cooked by broiling, frying, etc.

2. chopped meat prepared in the same manner as a steak.
 
I can see the point that you are trying to make, but I think it applies to many short-film genres. The films are sometimes decent enough, but consistently lacking in the script department.
 
Im quite happy to watch any short film from any genre, but the problem I find is that so many just dont grab my attention straight away.... I either have to sit through elaborate title sequences that take up 3 minutes of a 7 minute short film.... long drawn out opening dialogue sequences or too many establishing shots.

You need something straight away that will grab peoples attention.... why do bond films start straight away with an opening action/chase scene?

I always think this is a great opening from a low budget short film.... http://youtu.be/XdclzsiL-Hs

I like my steaks "medium" which are nice a lean. With some peppercorn sauce
 
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Raise awareness that a C average may be acceptable for a passing grade to graduation from public education, but not in the workplace.
 
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Your point is assuming that every low-budget movie ever made is attempting to be a high budget movie. Not all low-budgeters are attempts at horror or action films.

There are some really great low budget indie films about relationships that wouldn't make front page news in real life. Doesn't mean they're bad movies or that their 'steaks' (sic) need to be raised.

I'm starting to feel hungry all of a sudden...
 
harmonica44 said:
I've watched quite a few thrillers sent from all over the world, at a film festival last year, and here's the problem with a lot of them. The steaks just simply aren't high enough. Most of the filmmakers do scripts that are about simple things, such as say... a married person is having an affair and the other lover turns out to be a psycho. Well plots like that aren't exactly groundbreaking, unless you can put the twist of the century on top of it, which they did not. Or a ghost is haunting a house with stock teenage characters, that aren't developed very originally, or compellingly. The stories just are too small to think of it simply.

It seems to me that in order for these movies from beginners to be remembered by major audiences, that the steaks just need to be set higher. Think of it as a newstory. If the plot of the movie is not big enough to be on the front page of pretty much all the nation's major newspapers for at least two weeks running, than it's probably not big enough to make for a compelling, grounbreaking thriller, that will mesmorize audiences.

I mean if you look at Fail-Safe (1964), you're on the right track. It's a low budget thriller, where most of the suspense and revealings of the plot is done simply by talking and phone conversations. So is a good idea for us to make our thrillers more compelling or do I just don't know what I'm talking about?
Click to expand...

I agree this is one reason many films don't succeed (regardless of budget), and we would all agree working out a compelling script should happen at the script stage (and listening to brutally honest critique from "audience members" before going further).

If the issue is important enough to the characters, there will be drama by the high stakes of which one "wins." Depending on the genre, no one has to die, the world doesn't have to be saved, simply *important enough* for the characters not to give up on what they want.

My 2 cents.
 
For sure. I was mainly referring to thrillers, as a lot of the movies at the festival were thrillers, which I thought could have been a lot better, script wise.
 
Sometimes I think it's this simple and this hard: Really successful filmmakers know how to be "a member of the audience" during every phase of their project. During screenings of my first short film, it never occurred to me that almost every audience member would say at the end, "I don't get it."
 
I'd also put forward the argument that a badly made film will still be badly made whether the stakes are high or low.

The reason they don't sell or get distribution is not because 'the stakes aren't high enough' but because they're badly made.

Seriously, bringing together the ingredients of great story that relates to an audience (they 'get it' from start to end) with great production values and great lighting and great directing and great marketing is f***ing hard, and almost impossible for those who don't already have the experience and stable to do so, like a major studio. Even if you think of the majorly successful indie films, they weren't made be inexperienced people, or those that make films on their days off. And it wasn't their first film by a long shot, in fact it was unlikely to have been in their first 100.
 
I see. That makes sense. Some of the people I am helping on their projects are making features, as their first film. Well first film that is actually finished. They have done a lot of practice shooting, but never completed anything with sound effects and music put in. Is that bad of them, are they not ready? They say that they cannot afford to make a lot of shorts cause shorts can cost $1000-$2000 to make, and then they won't have enough money for a feature in the long run.
 
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