/sfm/ Screenwriting and Filmmaking General

I've got a solid script. Everyone I've demoed it to has said they loved it. The downside is that it is not indie short film material. It only really works as a big special effects feature, but there is no way anyone would greenlight this. It's too risky. So it just sits with me in production limbo. I've accept this fate.

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Most people don't care unless they're getting paid to care. It's understandable but it leads to a lot of lazy and toxic behavior when it comes to making Independant movies.

r*dditors are as bad... they make disgusting postironic pomo shorts with no respect or rgd to the tradition of film before them. then you have idiots who aren't serious about filmmaking attention whoring all over the place too.

but I agree about the critics... that attitude just sucks, it just sucks

Whats the log line?

Don't you know there's only room for one of these threads every few weeks? We just had one yesterday

and above fast there's Sorkin & Fincher, if you mute the movie you can't read the subs fast enough

Should mention it's film school, so while no one is getting paid, *no one* is getting paid.

And even then, interns are probably among the hardest working on set, to appease the masters to give them another internship and maybe into the future some minimum wage stuff.

Internship in film is actually kinda fucked.

/swg/ was better

I know that feel. I've written very "effects heavy" stuff, but to be honest. If its good and has a voice, sooner or later you will find a agent / manager who will punch that shit forward with you.

fuck you, /fmg/ is better
Fuck screenwriters who don't have the balls to shoot what they write

agreed about Sorkin. I wish I could write like him but unfortunately it's probably gonna take me another 40 years.

Its the same thingm.

Young man reunites with his long lost family only to learn of their dark past that engulfs the world with war. It's sort of a coming of age dark fantasy.

That's always the trick. It's about who you know. I haven't given up yet, but this story is a hard sell.

Come tell us about your script in our Discord. discord.gg/hK9dpR

the pace with which the lines are delivered are most of the charm
if you track down the subtitles and actually read them the whole thing falls down like a house of cards
it's really like the characters are having rap battles, it feels like that catwoman basketball scene but with dialogue instead. there's no content, only the illusion that there is

At least in /swg/ people would post their pages. Here everyone is like "I don't want to be doxxed by Yea Forums".

You can't deny that he's written some fucking iconic lines.

youtube.com/watch?v=9FnO3igOkOk

Here's your pages
drive.google.com/open?id=11EcUOkaDhf8yUuTVPYeCOqn9ySmfUvQd
Logline: Two Bruce Lee obsessed ninja trainees abandon their master to fight ninja death cult in 1980's Osaka.

wow it's the next john carpenter

are you always here

>thinks anyone who posts on Yea Forums is actually working
LMAO

yes, im the one who tries to keep this general alive

Hey guys, I have
1. no crew
2. no money

So I'm struggling a bit to take my projects out of the paper. I decided to limit my ambitions and find genres and styles that could be done by one person with limited resources instead of waiting around for my circumstances to change, just to keep myself writing, working and trying to be creative.

I've been watching different, cheaper forms of storytelling to get ideas. Narrative photomontage like pic related is a good one and I'm already writing down a few ideas to work in this genre, but I'm also listening to drama podcasts, watching different types of documentaries, stuff like that.

Do you guys have any recommendations of genres like that to explore? Any type of low-budget storytelling would work, I want to have a wide set of references as possible to figure out the best ones to work in. I even thought about writing my own fantasy world and telling its story through "historical" mini-documentaries like Kings and Generals. I just want to learn all different ways a simple story can be told by audiovisual or audio means.

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Gotta get back into the writing. and the gf has a 16 mm camera she inherited so we plan on using that this summer to test out.
Inspiration comes from a lot of things. But lately it's been the work of Mangold and any interview/podcast he's done. The guy seems like a cool guy and his work is a good mix of things.

you need a crew no matter what. if you don't have money you should work to earn money. look at low budget features for ideas. there was a Japanese zombie movie that came out last year made on 20k that swept lots of awards. other nobudget features: primer, Nolan's student film, clerks

a film made by only yourself is just masturbation. there's no point.

1. Get money
2. Find a crew
Nobody ever shot a good film completely on their own.

Cursed thread.

I mean Garett Edwards shot Monsters with like 3 other people. So it is possible to do something on the smallest crew possible.

I'm not really talking about making a movie.

then why are you posting here? why are you researching storytelling methods when you can't even decide what story you want to tell?

Because it still involves video production, sound design and screenwriting. And stop writing in this generic cunty tone please.

What do you guys use for sound? That’s the last thing I need to figure out before I shoot

ok, hope i didn't hurt your feelings sweaty :)

Blessyou

Three other people isn't alone.

You could do something like Scorsese's student short film.

youtube.com/watch?v=339_xkqiCLk

Take a topic (vietnam war) and make a metaphor.

y-you too

Anything involving video production (unless it's some shitty youtube vlog or something like that) requires a crew and a budget.

Flying to Los Angeles for a week this Sunday and have a meeting for management representation of my screenplay. What are some tips for understanding terms of a contract even though I'm probably not even making it that far lol

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>cont.
Though I don't think such a thing would be as striking nowadays.

A rode mic and and h3 zoom recorder. I think it sounds pretty good comrade.

Where did you find the agent?
Did you apply to any competitions?
Do you have a huge backlog of scripts?

What resources do you use for writing? So far I've read a few books on screenwriting and listen to the Scriptnotes podcast. I've also went through Scorsese, Sorkin and Herzog's masterclasses.

Do you actually think any of us have gotten this far? I don't know just don't sign anything unless you have like a lawyer read over it. Good luck comrade I hope your dreams come true.

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you only need your brain pen and paper buddy

Lol no shit but I'd like to improve my writing at the same time

Pirated copy of final draft and an idea

I've been using trelby all the while. is it that much better?

I've never used trelby but Final Draft never did me wrong

>Pirated copy
I can't believe what I'm reading.

the final draft copies I've downloaded aren't compatible with special characters so that's a no for me
trelby has everything I need though

Final Draft 9 and before dont have symbols like @ because the maker of the software wants it to be as close to typewriter as possible.
Yeah. Its that stupid.
10 it works normal tho but i think that version sucks.

Story by Robert McKee- good all-in-one seminar on screenwriting. More about what a screenplay is than how to write one. A good starting point.
Screenplay and The Screenwriter's Workbook by Syd Field- Moreso how to write a screenplay following the 3-act formula.
Save the Cat by Blake Snyder- How to write a screenplay that'll sell. Not a great book, kinda treats the reader like he's a moron, but still worth the read.
The Art of Dramatic Writing by Lajos Egri- Actually about stage plays, but still plenty of advice applicable to screenwriting.
Poetics by Aristotle- A must-read for any kind of writer.

they're interested in me partially because I had a good referral from someone else (it's a dumbass idea to contact them with just yourself) and partially because the agency's founder went to my school
Placed in one, didn't in another
Literally only two and they're for the same niche/genre, the second one just being an adaptation tailored to be more mainstream. They're meeting to discuss my first one; I'll only show them the mainstream one if they're interested

I mean, you guys are the ones who keep making these threads

I used to write a lot. It's all quite bad but at least I took the tie and effort to write. Once I realized I live in a secluded area and have no money to move into a place with an actual film industry I gave up completely.

You didn't see nothin'

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I finished my first ever script a few months ago. Sent it to some coverage sites and got 5's/10 and some pretty varied feedback. I got kind of down about it after Dunning-Kruger-ing myself but still had ideas floating about so noted them down.
Finally did a rough draft of my next one but lost the motivation to write it up in script form.
Then had another idea so I've skipped the rough draft and am going straight to writing up a formatted draft.
Only get an hour or hour and a half after work to write so it takes a while.

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>What you working on?
Nothing
>What inspires you?
Nothing

Good luck getting anywhere in Hollyjew btw, without being a subversive kike.

Other than paying actors and maybe a couple crew members, what other costs are you guys dealing with? I have a location secured and don’t think there are any costs associated with it. I’m worried about what to do with a finished product though. Just send it to festivals? Do I need to get a lawyer before I do that?

t.

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It was one of the better things I read on here. I like the general vibe of the piece but not sure what it is? A pilot? A feature?
Feels like a modern re-imagining of a classic 80s tv show.
>YAKUZA LEADER AND TRIAD LEADER - clunky naming when you read action lines
>Unclear geography when ninjas attack
>Exclude the first few scenes from the montage, these seem like important character moments.
>I would advise you skip the montage and reveal the character's backstory in flash backs, the montage breaks the pacing
>Drop the "I mastered the blade" joke, please.
>The importance of receiving the Katana seems to be undermined by the fact that we, as the audience don't see the boys struggle to get them, they want it in the beginning and almost the next scene they receive it. I understand that the rush is intentional and is implying that evil is coming but still.
>Perhaps their first mission in the city shouldn't be one from the Master but them disobeying the Master and sneaking out at night
>The Master as a subversion of the all-knowing sensei is great but please flesh out the dark side of his relationship with the boys
I've got some notes you might want to read:

I type in a language with special characters so I guess nobody in this country uses final draft then lmao

How am I supposed to write good dialogue if I'm an autist who sits in his bedroom all day and has never talked to anyone. I don't know how people talk. I'm trying to steal dialogue from other movies but it's not really working.

t.

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People don't speak in rhymes but that didn't stop Shakespeare.

You will make it because you're actually proactive and putting im the hours unlike 95% of this thread. You are OK user

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I literally can't write anything. So let's say I want to write a scene about two friends in a cafe talking about a mutual friend that just left the city. I don't know how people talk so what I put down ends up just being the terrible small talk thing I do when I try to talk to people in person. Maybe I should get a life before I start writing.

Other than personnel, equipment and meals are the main expenses, but there are also submission fees for most festivals. Once you've got something to send, submit it. I don't see why you'd need a lawyer. My go-to sites to submission are filmfreeway, withoutabox, and festhome.
Protip: Don't spend like 50 bucks to send your film to some literallywho festival. Only spend that kinda dough for the big dogs.

nigga you're on the internet there are people recording themselves talking everywhere

>shooting in black & white
Gonna be a cringe from me dog
also don't pressure your friends to be crew and expect to have a good crew

I know that's what I'm doing now. It ends up just piecing difference conversations and styles of talking from different sources into dialogue but it's not working out cause it's not coming from me.

You should do both. Life experiences helps with writing but remember that your early output might be disappointing; don't get discouraged. You don't expect to lift twice your own weight on your first day at the gym so why would your first script be a masterpiece?
Protip, just go on walks in public places, go to faces, hear how people talk, make mental notes of the different intonations and vocabularies.

How do I find actors? I have literally everything else but I need two boomer actors to be the MCs parents. Its only a short so its not a huge commitment and it's only one scene (half the short though). Will they expect pay? If so what would be acceptable so I don't get kiked?

everyone talks to gather information from someone else
before you start writing a dialogue scene, you must ask yourself what each character wants to
find out
hide/cover
reveal
in order for the dialogue to make sense
also every piece of dialogue should further the conversation - it's not a rule but you'll only be able to break it after you understand it

Go outside. Bring your laptop. Eavesdrop. Write. You can't just steal dialogue from other movies you have to steal from actual people in real life because that's where the movies are stealing their dialogue from.

Craigslist, filmmaker groups on fb

ask your mum and dad

I'm only used to writing in book form and I'm having trouble adapting to screenplay format, especially with my speed. What's a good guide to smooth the transition? Any general tips?

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why cringe user? I'm not trying to be pretentious or anything. I just want it to be comfy, and its shot at night so doing b&w makes the lighting schemes easier.

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I honestly wish I could see you guys just after you've tried to make it in the industry.

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Generally you're supposed to shoot in color and then change it to black & white in editing, giving you greater flexibility in post-production

Don't listen to him. Black and white is fine.

imagine the scene unfolding and describe it plainly
write specifically so someone with a camera can decode it and understand the shot clearly and concisely
also don't write what you can't see unless it's necessary
tldr read scripts

Post more pages, less whining.

first you should make a top ten list of your favorite movies and read their scripts. i mean if you haven't done it yet

>implying I'll ever stop trying
t. failure mindset

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Its first act of a 90page feature. So yeah there's more to come.

This is all gold. Thank you for giving it a read!
Its supposed to be very cheesy - but i guess you already got it.
I am taking alot of risks with the montage stuff etc. But i feel it serves the "theme" and tone of the story.

If you got more notes i'll absolutly read them and appreciate.
Again, Thank you!

i want to fuck that superloser

Not saying black & white is cringe, just that shooting in black & white is
Say you have a character holding a green apple and wearing a yellow shirt. They look different IRL, but on camera they both might look the same shade of grey.
If you shot in color you'd be able to adjust your greens to look darker than your yellows. But if you shot in b & w you're just boned

You don't need to make it in the industry. A nice small following on letterboxd and maybe a movie on some art house streaming service is good enough for me.

>He doesn't know...

nvm, keep at it champ.

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Honestly I feel like it would work better as a series, a lot of the important moments feel rushed for e.g. Alex losing trust in the Master, John succumbing to his dark urges etc.

Also Am I right to guess that the Blue Ninja will serve as a father figure for John?

I honestly think you'll be fine with this attitude user, better than some of these other guys at least..

However I look once I've "tried" to make it can't be worse than you look right now

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what is the bike symbolism? that niggers are coming too?

>they don't about le conspiracy theories I've read xD
Yeah we don't because we're not retards

You have 0 real life experience bro, you don't know what happens anywhere. Just stay quiet.

Sorry when I wrote shooting in black and white I meant shooting for black and white.

No. Blue Ninja kills John at act 2 and Alex blames himself for it. This turns the movie into revenge film where Alex becomes the Hero. In first draft he also died in the ending but now its a bit more "cheery". There's a bit of risk but John is The Hero - but Alex is The Protagonist

>Sorry I'm not a deluded zoomer try-hard who's about to get his shit-pushed in at the realities of life.

Now you go enjoy the experience, kid. If there's one think I can tell about you for sure, it's that you'll obviously learn things the hard way, my boy.

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Ah, good on ya then. Go out and make kino

You ever see To Live and Die in LA? It has a similar motif where the hero dies in a shocking and matter of fact way and then his sidekick becomes the protagonist and gets revenge

>You have 0 real life experience bro, you don't know what happens anywhere.

Uh-huh, keep telling yourslef that, also remember to tell me when you've "made it" kek I wouldn't want to miss it for the world.

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Now i have to watch it. Thanks for the suggestion!

What did you think about white space or action in general? I think the opening is a bit too 'wordy' but sort of cuts off after a page or two.

>all this projecting
I've already had my shit kicked in by reality, I just didn't buckle over and crawl into a ball over it.

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Interesting. From the scene in the city I assumed that John would become frustrated with the Master not allowing him to use his skills and the katana while the Blue Ninja would encourage the opposite. That would make John cross to the "dark side" and the finale would be Alex vs John
One more thing came to mind. If I understand you correctly, Alex and John have been "drafted" to be Master's apprentices while in a karate/martial arts class? I know it fits with the aesthetic of the cheesy b-movie but consider the possibility of them being for e.g. the last two orphans under the care of Master (ala Stick from Daredevil), a deranged. dishonored ninja master who tried to turn an orphanage into a ninja school, training the boys for an "unnamed evil", losing the lives of multiple students in the process.

>I've already had my shit kicked in by reality, I just didn't buckle over and crawl into a ball over it.

Give it a few years, my deluded little friend.

>t.

What's wrong with trying hard?

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I think you are really good at painting the picture of the scenery but there is a clear sense of geography missing in your action scenes.

>s-shut up there's no way anyone could be anything but a failure like me

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Nothing, it's the usual outcome that typically the problem, call it probability, or whatever

Honestly? fuck what I say, you guys keep trying... But there a a few thing to know that your probably missing about the entertinment industry, and desu they're really not stacked in your favor.

That's just the truth, what else can I say?

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Why are you still replying? shouldn't you be putting all that effort into making it instead?

They both become frustrated with him, John manipulates Alex to leave as he is the Man with Power where Alex is the Man with Will. Its left unclear in the script if Master really did what John says. You're sort of right tho; the "Dark Side" in the story is forgetting tradition and embracing the fundamentality of a weapon (its meant for kill) and Alex steps into that path at end of Act 2 - and its also what demises the antagonists as they are still stuck in their tradition. Its funny how you correlated this to Star Wars as its also a story like this; the core is human and emotional while the setting itself is a total joke and pulp

This post is pretty accurate, though equating Yea Forums to critics or influencers is hilariously overstated.

Anons are the equivalent to a test audience, bleating brainlets who want to stand and clap at even the most basic of cliche storytelling. Retards who want to meme and shit on everything without providing reasons why they like or hate particular movies...mostly because they themselves don't know, or are too ashamed to admit their reasons in spite of us all being a bunch of anonymous weirdos who will never meet in real life.

In the early days Yea Forums strived to be anti-reddit, as in an anonymous place where any opinion could be heard without fear of banning or shaming. Unfortunately Yea Forums culture took over and news reporters started doing stories on the hacker known as Yea Forums, bringing in a flood of clueless faggots who thought the purpose of this site was to be a toilet. It's sad that even the coporatization and rapidly imcreasing censorship of the internet hasn't brought in an influx of intelligent anons who want to avoid that shit and have intelligent discussions. Quite the opposite: with Trump's presidency the rate of brainlet trolls to the site has increased.

TLDR I'm seething that threads like this aren't the norm

Are you guys ever amazed at the sort of resources that independent stuff that nobody watches seem to have nowadays?

I was checking this post-apocalyptic webseries and I just can't fathom how they afforded all that. Tanks, uniforms, the computers, the set, guns. Everything besides that is utterly amateurish, too.

youtube.com/watch?v=DJ6W010V5hA

And this is just an example. I remember binge watching awful sci-fi short films on Youtube once and several of them had pretty good special effects. Is this sort of stuff and labor just super cheap in the US nowadays?

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I'm editing a project right now and need a distraction every now-and-then

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Good luck with your script, you actually inspired me to write something of my own in similar vein. Thanks user.

The benefit of having a rich family (or signing up for a crowdfunding site) is you never need to get good at what you do
That stuff definitely has money behind it but money can't buy good filmmaking

I don't think blue ninja will screen well. Blue is just kind of a blah color you know? Let's make the ninjas all darker. Black likd a machine gun. And I don't think we should have Triads and Yakuzas in the opening, China always gives a problem when movies feature Chinese gangsters. Why not have like, Italian mobsters?

Fuck, that's me on the left. How do I change that?

Still waiting to see your name in lights user.

Seriously, though, no bullshit good luck because I'm not even joking... you're going to need it you're following the path of literally millions of others, and only 0.1 percent have made it before you, and that's being generous, if you were older, that would probably register better in your mind, actual probability, I mean, not just resting everything you have on "hope" "talent" or "luck" or even "working hard".

You'll need much more than that.

>resting everything you have on "hope" "talent" or "luck"
Yet more projecting. I'm not resting anything on any of those. I have no delusions. I don't know what my success will look like but I know I won't stop until I have it.

I'm also not a particularly hard worker but great job editing your post to try and pin me down

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The first rule of writting dialogue is to remember that dialogues are not supposed to imitate how people talk. Writting is refined thought processing. A real conversation is full of detours and uninportant bits. Most times there is not even real intention behind it.
Dialogues on the other hand need pourpouse. Does the dialogue you wrote advances the plot? Does it reveals information? Leads to action? Does it have conflict? Does it reveals who the characters are? a secret? Also what is the point of the scene? You need to have answers for at least those questions before writting the dialogue. You should also consider if there is information you could convey on the subtext with visual tools like body language, the spatial relationship of the characters involved, etc. The naturality of dialogue would be related to who the characters are (or who you have shown them to be. A good character has several faces and has it´s own thinking process) the genre and suff like that.
Aditionally try not to start the dialogue from the begining. Cinema is not reality, it´s ok to start in medias res and go right to the point.

Nah, Yea Forums culture is mainly just about being contrarian. An anonymous large forum works in such a way that the dopamine kick which gets you coming back is from replies, and the easiest most reliable way to get replies is to be contrarian and stand out. On forums like Reddit people chase upvotes, and on smaller forums people post in every thread and focuses on having a presense.

The fact that you think an anonymous image board would be anything but shitposting just shows you don't know enough about people. Now Yea Forums could be much, much better, of course. Getting rid of /pol/, the pedos, the generals, the shitposts and box office posting would do a lot, but in the end it would just be more like Yea Forums, it wouldn't be the internet version of Cahiers du cinema.

This is one of the best things anyone has said to me in a long time.
Thank you.

>I don't know what my success will look like but I know I won't stop until I have it.

You and a zillion others, but remember, someone has already tried it first and there is always someone who is going to be better, smarter more talented, etc. and even the vast majority of those peopel didn''t even make it.

You obviously don't even know what you are in for... but enough from me, I have shit to do.

but always remember...

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I just realized that film making with real life actors is going to fuck you up real hard, time wise and socially. Just use blender, which I have been doing and got my first pass with distinction.

>I'm also not a particularly hard worker

Uh, oh...

And learning how to use a whole new software isn't going to fuck me up?

The only difference between a failure and a success is the failure gave up.
If you've failed, it's because you gave up.
I'm not an optimist. I'm not an idealist. I'm not a "zoomer tryhard." But that is a fact.

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Laziness breeds innovation, user

No dialogue is realistic in movies and television. It's all exposition or a shortcut to character. Look at capeshit: the dialogue is 100% quips or characters explaining the plot ad naseum, neither of which requires talent or even basic knowledge about the human condition to write. Just write dialogue that reminds the audience of what's going on or inform them of what a character is about.

For example, say your HERO is leading a group of RED SHIRTS into an old tomb to get a macguffin. Suddenly SPITRO, an imposing figure in green power armor resembling a lizard like creature jumps into frame. SPITRO grabs a RED SHIRT and throws RED SHIRT down unleashing a spray of acid from the mouth of his power suit. RED SHIRT screams and trashes around in agony, melting.

HERO "Whoa that guy needs a tums. Everyone run! We cant beat that guy he's too dangerous! We need to get the MACGUFFIN before GENERAL MAYHEM gets it or we're toast!"

There, that's the exact same level of dialogue millionaire screenwriters use. If you watch capeshit and play vidya you already have all the dialogue tools you need.

No. Simply because is easy to learn, you don´t have to learn the things you won´t use, you only need to learn whatever you need. Free tutorial and you basically paint whatever is in your head.

>lol just become an animator bro, it's not a completely different medium with a completely different skill set or anything. This way I don't have to deal with muh social anxiety!

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You're welcome. The Alex-John-Master relationship is what I like the most about your script so I got the idea for an indie dramedy feature about two siblings who were trained in combat as children by their strict, ex-army dad. Now that they're all grown up, the sister has an ordinary job and a family while the brother has just been discharged from the Army for unknown reasons. He temporarily moves in with his sister and the two struggle to overcome their childhood, differences in perspectives on life and the trauma caused by an abusive father.

Just not sure how can I can use the combat training yet...

>The only difference between a failure and a success is the failure gave up.

Not true, guess how I can tell that you're still young? also, you can call me a faliure all you want, you, however, have proven to be nothing besides one.

>Laziness breeds innovation, user

Does it breed success also? if you say, yes then you're a fool.

The question remains the same, which is more probable that you'll prove me oh-so wrong, because you're obviously "so special"?

Or that, in time, I will once again be proven right?

Kek, I know which I'm betting on.

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no i want to make art house kino where its just two guys sitting in room talking about philosophy for 6 hours

>the internet version of Cahiers du cinema.

Thinking of this made me laugh. How would Yea Forums be if it where full of eccentrics instead of trolls and corporate shills? We will never know...

Still, i would say that while the ones you mentioned are offcourse the obvious unwanted consecuences of anonymity the general direction the internet is heading with it´s empahsis on social networking is not really giving much choice for those that just want to express their thoughts without real social repercusions. It´s either this or self censorship at this point because no matter what one says someone, somewhere gets offended. The world is just THAT chaotic and nonsensical right now.

>yet more projecting
I'm getting bored of you, user
Thanks for bumping the thread tho

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Good luck with your idea! Setting is the key here i think.

David Lynch is the capeshit equivalent to art house. Watch some of his movies and copy the same style except replace quips with puns and over explaining mundane things and confusing dialogue that's about nothing.

DANNY enter the room and sits down across from JOHNNY C, nodding in hello.

DANNY "Johnny C. Having a good day?

JOHNNY C "Johnny sees Danny without a briefcase of money. Johnny sees Danny with absolutely fucking nothing. Now do you think Johnny sees a good day?"

DANNY "Did you know pelicans mate mid flight? I grew up in lobster country. We used to see those big mouthed pricks flying up and down the coast all day just air fuckin. Guy down by the shore used to cook a bisque that would make you CUM. Johnny ever seen a room full of people slurping soup and CUMMIN?! We used to eat bisque and watch pelicans fuck while we CUM OUR SWIMSUITS JOHNNY. You 'see' that?!"

DANNY puts a small case on the table, too small to be full of money. He opens it and puts a glass triangle on the table. Deep within it's prism is a small ball glittering with color. JOHNNY C's eyes light up as he leans forward.

DANNY "All that glitters is not gold Johnny me boy. Any good soup places around here?"

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Figured I will set it in modern Eastern Europe, with flashbacks to Soviet Era 70/80s.

Is it too late for me to become a director?
t. Chef at a restaurant and 29 years old

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You asked this in the last one faggot. You don't want to be a director if you have to keep asking other people if you can.

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Its never too late. But best time to plant a tree was 10 years ago.

Sneed

kino

current Yea Forums is just a theme Yea Forums now ever since Yea Forums became a complete bot porn fest
the problem is Yea Forums cannot be elitist like Yea Forums or Yea Forums for example because there is no core community on Yea Forums, it is the de facto tourist board where everyone comes to shit whenever something new releases
Yea Forums may be a bigger board with more people but they have a board etiquette since it's not really a tourist board, and besides they have related containment/safe boards like vr and vg
we would gain a lot by having a separate movie board like /film/ where you could strictly post about stuff other new hollywood and US tv releases

Yeah but I wanted to put my age there too, otherwise someone could think I'm only 21 or something in which case it certainly isn't too late.

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you've already made enough of that garbage Andrei, fuck off

29 is still young in the real world

Haneke was 47 when he made his first movie.

What did he do beforehand?

Film critic

Someone post midge kino script

So he already knew a fuckton before starting, I'm talking about if someone who didn't go to film school nor had any expierence outside of messing around in sony vegas could become a director at 29

The best idea I had for a movie came suddenly to me after reading a little 10 word post someone on Yea Forums posted in some movie discussion some time ago
I literally froze and ran to the bathroom to try to concentrate and piece everything out in my mind so I could write the first notes. I have now maybe 20 pages worth of scrambled notes pertaining to the characters and various scenes
If I told that user about the movie he wouldn't be able to understand how his post triggered the idea. It was a mix of those words, a movie I'd seen earlier and a piece of historical trivia I'd read about once.
Just posting this because it just goes to show how much research and knowledge influence your creative input

No legitimate company worth its salt will "sign you to a contract" straight out of the gate.
I've been with a management company since 2014 and an agency since 2015. Only recently has the agency sent me documents to sign and most of them are authorization forms for deposit/pay lawyer/pay manager, etc.
I never signed anything with my manager or his company and, yes, I've had work that paid.

I would think most film directors would have autismo level film knowledge before starting but you don't need any experience. Just need to get people to do the work inside your head for you.

Working on writing a long-form webseries/ARG at the moment. It's a passion project and I feel it's doable, as opposed to writing a feature that would be a ridiculous undertaking for someone who has made a few student films and that's it. I hope that, as far as webseries go, this one will actually have some original, thought-provoking, even academic subject matter and themes. It's the kind of thing that could get on Night Mind. It excites me, and that's what matters most.

Good for you. I'm really curious about exploring paths other than "make short film and pray" so I'm thinking about doing online stuff too.

>we would gain a lot by having a separate movie board like /film/ where you could strictly post about stuff other new hollywood and US tv releases

Do we even have a comunity to justify that? You never see threads about independant films or foreign films, let alone film literature, analysis or film making. This thread surviving is an extraordinary exception on itself.

With our numbers it would be easier to just migrate to /p/ and have civilized discussions there. They at least talk cameras and lenses. Ideally it should be like you say. It should happen here or on a /film/ board to generate a core community because as it stands we could discuss cameras and lighting on /p/, scripts with Yea Forums and animation with 3DCG but there is not, to my knowledge, a board where we could discuss full proyects and stuff like that.

If your goal in making stuff is fame and money then you might as well drop it because the chances of getting one or the other are extending low. On the other hand, if you're in it just for the process of making stuffy in your free time while still having a regular job that might not be related to filmmaking, you could end up being happy.

>It constantly feels like I'm holding this ship together with duct tape.

If you're directing and producing it without even an AD it'll always feel like that. My advice - look into your local film scene. See if there's a Facebook group for filmmakers in your area. Go to your nearest film festival when it comes around, especially smaller ones, or try and keep an eye out for filmmakers screening something in your city. Maybe there's a film school near you - they sometimes hold screenings of student work.

If you can meet people in your area who are actual independent filmmakers - i.e. they get budgets, producers, real actors and actual crew, not just amateurs trying their hand at it - you can get your foot in the door. Offer to help out on their projects, and if you have a good attitude and are reliable and fun to work with, there's a good chance you'll find people who'll help you on whatever your next project might be, whether that's a camera op or sound recordist with their own kit, a make-up artist, set dec, hell even an AD or producer if you get a chance to sell them on your idea.

Having a finished film under your belt where you wrote, directed, produced, edited, etc. etc. with amateur crew and actors shows at the very least that you have the right attitude and passion to get something made. If you can get it into festivals, make the most of that. Try to go to every festival that accepts it, even if they're only small and far away - every connection you can make in this industry is valuable, because you never know who might be able to help you out someday.

I'm actually in a somewhat similar position to you with my current short, although it's not my first and I have a budget and professional actors and crew. I'm producing as well as directing, and I've made a couple of mistakes in scheduling so what should have been a three day shoot has turned into four, and it's been a headache trying to nail down a day where everybody's schedules line up.

Thanks m8. I think online stuff could be an untapped goldmine for horror and mystery, maybe other genres too. The possibilities of interaction with the audience and multiple narrators are enticing to me.

>Have almost everything about my short film shoot ironed out
>Still have no idea what I'll feed my cast+crew
My first thought was some kind of take-out, but in addition to being super expensive it would lead to too much downtime waiting for someone to pick it up or have it delivered.
Hiring a catering company would be excessive, as this is a very small shoot (only 3 actors and 3-4 crew, including me).
I've got access to a fridge and an oven near the set, so making something in advance and then keeping it cold/warm until lunchtime seems the best option. What have you guys used to feed your crew?

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>You never see threads about independant films or foreign films, let alone film literature, analysis or film making.
you would if the board would let you. as it stands it's not slow enough to capture threads that progress slower
think if Yea Forums didn't exist and all capeshit comics were posted on Yea Forums - do you think any DFW or Pinecone or whatever threads would even exist? Philosophy threads even? they'd be drowned in marvel garbage, just like Yea Forums is now
if there's a place for /film/ to be posted, it will be posted. even if threads last a whole week (no real problem)

I pick option 2 user and yes I am happy that I can be proud of some story I invented and wrote
I will also want to invest in film equipment and maybe do some dyi camera stands and that sort of thing to start learning how to shoot (i'm only ever written)

>every other profession
>I'm going to work for multiple hours, better bring something for lunch
>being on set
>DUDE WHERE IS THE CATERING?!

It would be cool if the mods brought /film/ back from the dead but after the initial wave of pure shitposting it would still probably be dominated by capeshit and blockbustershit.

Catering is about 15% of why I want to work in film
I hate brown-bagging or buying shitty fast food lunch

not if it the jannies do their job
you don't see Yea Forums garbage on Yea Forums, and that's a slow ass board where garbage would retain front page easily

What kind? Fiction? none fiction? Documentary? Comedy? Genre?

Shoots I've been on have had the AD get takeout. They were bigger than 7 people though, so IDK. Maybe get or prepare something that doesn't need to be hot? I've done little shoots myself in the past where I just had sandwiches for everyone and they loved it.

Yeah but capeshit would still technically be /film/ related
And the only reason you don't see YA or genre fiction shit on Yea Forums is because there's no audience for it here, meanwhile there's definitely a huge capeshit audince

Horror/mystery/puzzle. There are elements of comedy too. It's kind of like Marble Hornets with no Slenderman, or any supernatural shit - just the same unsettling atmosphere and puzzle solving.

Do you guys write in languages other than English? If so, what software do you use?

they'd just need to enforce rules by making /film/ strictly older movies and non-Hollywood releases for example
that'd be a good way to distinguish high traffic from low traffic movies
for example I know that /vr/ has a date cut-off, games released after that are sent to Yea Forums

yes, Spanish and I use trelby
it's the software that gives you most freedom, as long as you know how to format a script yourself you're golden (final draft is very strict with formatting rules and has no special characters)

Rules like that are too vague to enforce. What about PTA and David Lynch films? Those aren't older movies, and they're definitely hollywood made, so their discussion would be bannable. But I wouldn't consider them in the same class as capeshit and star wars.

How were you able to select a different language in Trebly?

I've been contracted to do some action choreo for a local indigenous filmmaker. Guys got no idea how to shoot action so I have free reign. Best part is guaranteed festival play because he's an abo.
Other than that I'm just working crew on a few shows this summer and working on my own ideas in my spare time.

Just make /capeshit/ and we can stay here then

yeah it's definitely a problem making the rules, but giving the /vr/ example, the cut-off rule is mainly a guideline, which means you'll find also new games which aren't talked about on Yea Forums sometimes
I mean PTA and Lynch would hardly be a problem for anyone on /film/

Depends on the orientation of the board it could still be toned down. If a board is made for discussing film making techniques that would limit the direction of the discussion even for cape flicks. Discussing VFX techniques would already be an improvement over the discussions around those kind of movies you usually see here.

Something on the vein of Alex de la Iglesia? If you don´t know him (though from that combination you mentioned you should) check him out. You´ll like the stuff he does.

it's still in English, but you can actually write in your native language because it gets you special characters

Never mind, you can't.
Q. What languages do you support?

>This can mean two things: the language the program itself uses (menus, dialogs, etc.) and the language the user's screenplay is written in.

>The interface is English-only and will stay that way. We do not have the resources to provide translated versions of the program.

>Users can write scripts using all the characters in the ISO-8859-1 (Latin-1) character set. This covers most of the Western European languages (English, French, German, Italian, Finnish, etc.). Sadly, currently the program does not support writing scripts in languages that need characters from outside Latin-1, for technical reasons described in ticket 85. Those technical problems would have to be solved before we can start supporting other languages.

I would recommend giving either Writer Duet a try (although the new version limits the amount of scripts in the freeware version) or Fountain + Google Docs and then importing the work into other apps.

in case the brasilbro from the thread yesterday is reading..

de que cidade vc é?

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i wanna be a actor director but i never acted

do i take a class or do i just show up to auditions and wing it?

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I would try some acting classes first if I were you.

portuguese user here, there's a yearly script contest in Lisbon where many brazilians participate as well
I was gonna submit mine but the deadline is tomorrow or something and I'm still working it out

do like cassavettes, just be yourself

kek. Yea Forums surprised me

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Never count us out

t. Ville

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that's a fucking cool poster user
honestly though what are your plans for the script?

Im a line producer working on my first script
based on the Life & Times of
>TERRY S. DAVIS
Working title
>Terry in the 3rd temple

How do you deal with the crushing self-doubt, embarrassment, and fear of other people?

Then how did you know you were represented? They just told you you were and there was no legal shit?

How would they know how much of a percentage from sale of the idea to take?

I don't think you guys understand how making a capeshit board would go. That just means there would be THREE (3) boards, not including Yea Forums, flooded every time a new MCU flick comes out.

Bless you, user

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1. Ignore it
2. Ignore it
3. Ignore it
Just remember that, no matter what you do, you'll never be anything more than a blip on anyone else's radar.

I take comfort in knowing I won't live forever

replace /mlp/ (dead board for dead meme show) with /cape/ and delete any threads about capeshit on other boards

Doing the Lord's work.

better yet make it /bbc/ for blockbusters & capeshit, and put star wars garbage in there as well

>memed to hell furry show with extremely toxic fanbase is as bad as the most influential media on the planet right now.

You obviously weren't here long enough to actually see how bad the pony show posters were when it was boardwide, and the fact that you're even suggesting deleting /mlp/ shows it.

Take em to a soup kitchen

Who cares? Yea Forums is a trash bin and anyone browsing it is a brainlet anyways, and with a proper capeshit/blockbuster board mods would have a proper place to dump garbage spam movies. /capeshit/ should've been made back in 2012.

That was in 2011 when the show was still a meme and Yea Forums was using it to troll. In 2019 none of that shit is relevant; what is relevant is the fucking marvel star wars cancer that takes up 40% of the board at any given time.

No one has earnestly given a fuck about pony shit for 4+ years; deleting /mlp/ would make a short boom of nostalgia shitposting that would be over in like two weeks.

Someone from /FMG/ general made it a year or two back. Never got to thank the dude but thanks.

Planning to pitch Jimmy C. for the title role once I have a decent final draft

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Who's going to be man enough to make a Chris-chan biopic?

>Maybe I'm just a bizarre little person who walks back and forth
Fuck, you have a real kino in your hands. It could be the next Passion of the Christ

Netflix will buy it for sure...
SHE
...The Christine Chandler story
A Timeless Dramedy Horror with a much needed political message perfect for the tumultuous post-Trump era.

It all started because he wanted a program to make songs for God...
I was inspired to think TempleOs was given to Terry as a future tool...for all of us
To defeat the BEAST AI

Make it a doc like in the realms of the unreal I think it's what it's called, about a reclusive man who had thousands of pages of fantasy written and illustrated about a massive war among children

i'm making a movie by myself with a green screen in my living room
its about space aliens

Good thread boys.
Question: When writing a script, how much value do you put into it being commercially feasible? The common advice is of course to write "what you care about" but then there's people like John Truby that basically say that if you don't write capeshit (or whatever the market demands) you stand no chance in the business

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Tip from Robert Rodriguez says it's best to write around things you already know you have at your disposal. You can go ahead and write your grand space epic that needs millions to produce. Or you can think about the core of what you want to write about, condense it, and apply it to a script you could shoot yourself.

If you're genuinely looking to get into the industry, the advice I've heard repeated for screenwriters is to stick to a particular genre, and write a handful of features (or pilots/spec teleplays), get coverage for them, then take them to an agent. They probably won't get made but if they have good coverage, you will get an agent. The agent might try to sell one or two of them if they're really good but more likely they'll be looking to find you work, which is easier if you have a portfolio of scripts all of the same genre - "Hey, I have the perfect guy for this, he writes good gangster movies/sci-fi movies/stoner comedies etc." You can try to broaden your horizons once you're established.

And you can still "write what you care about" in saleable scripts, to a degree. If you have an interest in dysfunctional father-son relationships, put that in your rom-com. If you're preoccupied by the concept of the banality of evil, put that in your capeshit. A lot of screenwriters and filmmakers return to familiar themes and motifs across their work, even across genres. It's doable.

Not to say that anything that isn't capeshit isn't saleable though. You just have to put more work into the logline to make someone want to read a complex human drama written on-spec. If that's your wheelhouse, you can still get an agent, but it's not as easy.

Good advice but I think that's more for writer/directors trying to actually get their movie made. Becoming a professional screenwriter isn't about getting movies into production, it's about selling scripts. You can make a career out of selling scripts without a single one of them ever actually going into production.

How do I get in the industry and also come up with ideas and start writing/directing

I think it was Scorsese who said that the point of writting about what you care about is to keep the story believable and relatable. This does not mean to write about your life but to use fiction to convey something real or something that you really know about. For example, someone that grew without a father or that has lost a lover in an accident knows how that feels, how one reacts, what one thinks and does. As long as the writter is writting about that the story can be a western, fantasy, sci fi or even capeshit. The story works as a vehicle for what you want to talk about.

That said if you are planning on actually following through what this guy said is what several indy film makers recomend

Write around your resources and climb your way up from there. This might not be enough to enter the industry though but as long as you keep filming you might be able to earn a living from it and move in the same circles trying to make socials. I think there is really no way in without social mingling.

>I think there is really no way in without social mingling.

Filmmaking is one of the most collaborative artforms there is. Filmmakers are in a pretty much constant state of throwing ideas around with collaborators or potential collaborators. If you have social anxiety, it's probably not for you.

That´s not what i meant. I meant the "other mingling". Talking ideas with collaborators in the context of film festivals is one thing. Assisting to parties to accidentaly bump into a potential contact is another.

Meeting people is a must but the direction of a carreer may depend on who one meets. Meeting an indy film maker/ producer is different from meeting a big shot producer. It would lead to different outcomes. In both cases social networking implies work. Make the contact, keep the contact and so on. Resources are not unlimited so knowing where one wants to go and who to focus in is important. Not everyone wants the same thing. Some just want a work, some want a specific position, some want to work with their heroes, some want to have creative control over their own work and so on. It´s lots of work if one does not have an agent.