Film making Articles and Creative Blogs

The Smalls is an online showcase for non-commercial creative work. We are here to inspire and to offer a medium where emerging talent can display work not only to fellow members of the contemporary creative community, but also to our subscription members in the broadcast, film and advertising industry.

Our search for new filmmaking talent and brilliant short films continues with THE SMALLS AWARDS 2008.

The Smalls Awards are about inspiring you as a filmmaker, providing an opportunity for you to display your genius and put your filmmaking skills to the test by competing against other filmmakers from around the world. 

Leading decision makers and creative professionals in broadcasting, film and advertising will see your entry, and both the Showcase and Awards offer a platform to put your work in front of an audience as well as network with industry professionals.

Since 2006, we have set forth themes for filmmakers to take a crack at, culminating in a variety of awards to celebrate the ingenuity and creativity of the best of the lot. This year, in the name of creative freedom, we’ve thrown out the theme and all the rules but two – as long as your film is under 5 minutes and unbelievably good, it’s eligible for entry.

So if you think big ideas come in Small packages, prove it. Submit your film to be judged by our panel of industry leaders at The Smalls Awards 2008 and compete for the coveted The Smalls trophy for the best short film of the year.

Deadline 5th September 2008

To download entry form – click here

To upload your film – click here

With the recent explosion in the popularity of originated online content, The Smalls’ belief in all things short and pithy is more relevant than ever.  This is your chance.  As we always say - start small, and who knows where it will go?

Japanese Anime has become a global phenomenon over the years. Everyone from the Wachowski Brothers (with their commissioning Japanese anime directors for their Animatrix series) to the geniuses at Pixar have showered Japanese animation with praise. Influential directors like Hayao Miyazaki (Spirited Away) and Satoshi Kon (Paprika) among many others continue to see their films exported from Japan and into our conscious.

Where does a young animator get their start these days? At Anime festivals, of course. Animated short films in Japan are gaining an audience all over the world at various anime conventions. You’ll find them from Minnesota USA to Linz, Austria – but one of the most popular conventions takes place in Japan of course, and it’s called Comic Market, also known as “Comiket”.

Comiket has been happening twice a year since 1998 – primarily a convention for Japanese Manga (Comic Book) artists, it is a showcase for established and independent publishers, a multitude of stories, and of course, incredible artistic talent. A visit to Comiket (aside from putting you in the amazing city of Tokyo) will afford you to a look at everything from Cosplay competitions (where people dress up as their favorite anime characters) to special screening of the newest animated short films in Japan.

If Japan is a little out of the way, do a search on the internet for the anime convention nearest you – if you want to see the future of animated short films in Japan, it doesn’t mean you have to go too far. But if you are going to be in Japan, check out Comiket from Aug 15-17 at the Tokyo International Exhibition Center!

Interested in the history of Japanese Filmmaking? You should be. Some of the most timeless films have come from Japan, and filmmakers from around the world have cited many Japanese Filmmakers and their films as major influences. Here’s a snapshot of filmmakers that you should be thinking of next time you are browsing the rental list.

Akira Kurosawa (1910 – 1998): Japanese Filmmaking is almost entirely synonymous with this man. His films have influenced everyone from Francis Ford Coppola, Steven Spielberg, George Lucas, and countless others. His most famous films have all been remade (sometimes shot for shot) for Western audiences – Seven Samurai (1954) remade into The Magnificent Seven, Yojimbo (1961) remade into A Fist Full of Dollars, The Hidden Fortress (1958) inspired Star Wars! – and you’ll quickly see why.

Yasujiro Ozu (1903 – 1963): Ozu is often cited as the most ‘Japanese’ of Japanese directors. While Kurosawa’s films were very ‘western’, using a lot of camera movement, Ozu’s films are very still, understated, and precious. His films also entirely focused on the day to day life of the Japanese – if you’re going to pick one to start with, then Tokyo Story (1953), about an elderly couple visiting their grown children in Tokyo, is as insightful as any film you’ll see about the parent-child relationships. Wim Wenders (Wings of Desire) loved Ozu so much he made a documentary about him called Tokyo-ga.

Kenji Mizoguchi (1898 – 1956): Mizoguchi’s most memorable films were his ‘jidai-geki’, a genre of Japanese filmmaking that basically dealt with Feudal Japan (the equivalent of our ‘period pieces’). His most elegant masterpieces were the films The Life of Oharu (1952) and Ugetsu Monogatari (1953) both of which garnered international acclaim by winning awards at the Venice Film Festival. If you’re looking for period films that are not about samurai, these films are a sure bet.

The best way to learn about Japanese filmmaking is to watch films. Don’t just leave it up to the Tarantino’s of the world to filter it through to you. You’ll find it incredibly fulfilling to see some great films, and perhaps even see its influence on contemporary films as well. Obviously, we’ve barely scratched the surface. Next time, we’ll delve into more recent Japanese films that would be worth your while to see.

So much happens here at The Smalls every day, week and month. We’re getting a lot of new and talented members, and with such a growing community, your views, votes and clicks to favorite your short films matter a lot to the filmmakers.

As of today, July 24th 2008, three Smalls have received more top ratings than any other. We want to give them a special little shout-out.

OVERTIME, by Damien Ferrie.
This lovely three-minute opera also recently featured as one of the three Smalls that grabbed the spots for “MOST FAVORITE SHORT FILM ON THE SMALLS”. It’s a masterpiece starring puppets, and it is guaranteed to move you. It today holds the proud #1 spot among the highest rated short films. Experience it HERE >>

GOODBYE TO THE NORMALS, by Jim Field-Smith.
This Small has so much charm. Great acting, great filming and a great little twist at the end – at least that is what you, our members, say. You have put it in the #2 spot among the highest rated short films on The Smalls. Experience it HERE >>

RAFTMAN’S RAZOR, by Keith Bearden.
A well-crafted short film with plenty of soul, this Small displays a great narrative and great imagery. Our members have placed this intelligent piece in the #3 spot among the highest rated short films on The Smalls. Experience it HERE >>

Do you think your Small should have a higher rating? Tell your friends to log on and have their say by rating your short film!

Filmmakers are often very excited to screen their short film as soon as it is completed. Guessing you're one of them? When you have made sure you have all the rights (music and otherwise) cleared and are ready to go – congratulations, you will finally be able to experience the reaction of an audience!

Now, you may have heard the terms “theatrical screening” and “non-theatrical screening” and wonder what the difference is?

The official definitions sound in the UK and the US something like this:

Theatrical short film screening: Showing your short film to a paying audience, a public display of your work.

Non-theatrical short film screening: Showing your short film without charging payment from your audience, and your audience is usually a closed membership group such as an academic class or society.

Usually though, if someone asks you if you have had a “theatrical screening” they simply mean to ask if your short film has been shown in a cinema. And, the same goes for “non-theatrical screening” – the term is usually used for any screening at any place that is not a cinema, such as a bar or other venue.

Got questions on screening your short film? Why post a question for your fellow filmmakers and industry folk here at The Smalls? Or, if you have had a successful screening – let us know, we’d love to hear from you!

Good luck!

Among all the excellent films from our talented filmmakers, there are three Smalls that stand out. Three short films that you, our members, have voted on as your favorites. 

While this may change in only the next few days or so, these three short films are your favorites today July 15th 2008:

PISS ARTISTS – ADVENTURES OF THE WORK SHY, by Simon Sprackling.
Whether you agree or disagree with all the comments posted in favor of these soulful characters, they were also on the short list for The Comedy Smalls this year. You cannot get away from the fact that this film grabs the #1 spot as most favorite short film by our wise and talented community – so love it or hate it… Just check it out HERE >>

OVERTIME, by Damien Ferrie.
This absolute masterpiece has moved our members for a long time. When it was screened at our monthly live New York City showcase – THE CAN – premiere in November last year, this short film brought the house to complete silence followed by a standing ovation. It today holds firmly onto the #2 spot as most favorite short film by our members. Experience it HERE >>

CE QUE JE SUIS, by Joris Clerté.
A tour de force that moves every emotionally intelligent girl we know to tears. The heartbreakingly beautiful animation and music has moved our members to vote this short film their #3 most favorite Small. Get your tissues out before you see it HERE.

Disagree with the vote of The Smalls membership community? Do your part – VOTE!

At some stage in the initial fun of producing your short film, you will come across that dreaded task of budgeting. While it makes many shiver in their boots it is important to remember that your first budget will always change as your film is made. So, try not to approach it with too much fear, and instead see it as a changing element – something useful to your creative process. See it as something that empowers you, since it puts you in control of your space, your time and your tools.

Here are a few things to consider, to get you started on your budget.

Talent: While you may have friends who are brilliant actors, or make for the best crew in the world, they may not be 100% sure they can (or want to) work for you for free. Sure, they may have made a promise over a pint a few months back, but make sure you settle everything loud and clear before you count them in. And, remember, “for free” usually doesn’t mean they pay for their own travel costs or food while working with you. If you are planning to seek funding for your short film, privately or otherwise, budget for cast and crew – even if they have offered to work for free. Not only is it more realistic, it will make everyone feel more confident and secure in how you will manage your team.

Rent of space & permits: Wherever you are shooting, it is rarely free. If you are unsure, always scout and research the spaces you want to borrow or rent, and ask your local film government agency before you make plans – you’d be surprised how many places require permits. And how many places will try to make a buck from you shooting outside their storefront or driveway… Keep a positive attitude, but always inquire, scout and research before you cost your location.
 
Food & Travel: Hard to avoid this one. But easy to budget with a little bit of planning. Remember that catering can be expensive (and sometimes really BAD, which will cost you extra if you need to feed cranky crew members twice the same meal). If someone you know is a really good cook or simply a sandwich guru, consider hiring them instead.

Equipment & stock: Research everything from camera and lights. Sometimes rentals come with great deals. And sometimes you can borrow your friends in exchange for cameo or a credit. When it comes to stock, don’t compromise on your vision – but be smart also. Ask around, research online for where you can possibly get your hands on leftover film from production companies or call the manufacturers themselves and ask where filmmakers like you can find affordable stock in your area.

Insurance: A must. Research what cover you need for your people and your equipment.

Marketing & PR: Everything from creating your own web presence, postcards or DVDs – budget for it or you may never get around to it. Of course, before you get there, you need to edit – so remember to include costs for editor or renting an editing suite. 

Got more ideas? Hit us back!

Good luck!

Last night saw the second annual The Comedy Smalls Awards where the winner of this year’s competition was announced by host Stephen K Amos. Directors Liam Johnston and Stuart Hamilton, who’s film Matt, Ben and Buscemi was very well received by the audience, took home the coveted pink pant price. The other four shortlisted films were also screened at Corbet Place in The Truman Brewery where the event took place.

A big congratulation to all shortlisted entrants and a massive thank you to our partners Paramount Comedy.

A special thank you to Stephen for being a fantastic host and a wonderful and  funny man.








                    





          






 

Whether you are ready to send out your first feature screenplay, or if you are soliciting financing for your expensive short film using your script – writing a good query letter is the key to getting your contacts interested in looking at your script. Since most recognized agents and producers never open unsolicited scripts, this is an important tool for any filmmaker.

The first thing you need to do in order to write a good query letter is research. You need to find the KEY PEOPLE you are sending your letter to, and you need to know why your script may interest them. Never address your query to a company, always an individual at that company – and always research who is most suitable for your project by looking up similar projects, directors/writers/actors/actresses they have previously worked with and other relations to your contact. When they receive your letter they will want to throw it in the bin, unless you immediately tell them WHY YOU ARE CONTACTING THEM SPECIFICALLY. In short: FIND YOUR WAY IN.

After you have addressed your query letter to the right person, FORMAT your letter so you know how much room you have to move for your writing, query letters are never more than one page, single spaced and in a nice, common type font. 

Next we are on to the pitch. Here I could make you nervous, say things such “your entire future in film depends on these sentences” – but it doesn’t, so try not to be too nervous. All you need to do is get someone interested in reading your script, or at least the first few pages of it. A teacher of mine once said the best way to do this is by painting a picture – make them visualize the trailer and the poster (i.e. if they can see how this film will be sold and marketed = make them money, they will bite).

Let’s divide this into two parts: The logline + the story.

Your logline, as you know, is a ONE-SENTENCE TEASER FOR YOUR MOVIE. It includes who your main character is, what challenge they face and what obstacles they need to conquer in order to succeed. Should always be roughly 40 words or less if you can. For example: Elite astronaut Hiro is on a mission to stop Mars from colliding with the Earth when he encounters sexy alien Plutofina in great distress, forcing him to choose between inter-galactic love and saving the world. (Ehrm… well, you get the point). NEVER GIVE AWAY THE ENDING – you want them to want to read your script. This part of your query letter should help your contact to IMAGINE THE TRAILER FOR YOUR MOVIE; visualize a 30-40 second summary on the screen.

Your story, as you know, is where a producer or agent will find their KEY SELLING POINTS. Ask yourself if there is a key dramatic question. Where does the tension come from? If you struggle with this one, look at other films in your genre and see what questions they pose – and work from there. For example: Would you kill to keep your family safe? How far would you go to preserve world peace? This part of your query letter should help your contact to VISUALIZE THE POSTER; imagine who will see this movie and why.

After above paragraph is squared away, you move onto yourself. Take a sentence or two to sell yourself – include your achievements and awards (if any) and if you have a personal experience that ties you to the story of your script (translation=why you tell this story better than anyone else) briefly explain this. This part of your query letter should tell your contact WHY YOU ARE THE BEST SOURCE FOR THIS STORY.

Finally, invite your contact to read your script and make it easy for him/her to reply to you – maybe include a self-addressed and stamped envelope with a note for them to sign inside, just saying they would like to read your script. Whatever it is, MAKE IT EASY TO REPLY “YES”.

Need more help? Hit us back here at TheSmalls.com. Or why not go to the forums on our site and ask fellow members for query letter samples and advice?

Good luck!

Being a documentary filmmaker is never easy. There is constantly too much inspiration, creating a chaos of ideas and frustration. There is also always someone with an opinion on how you should best produce your film – should you be entertaining and funny, should you be brutal… should you not be anything at all? Finally, there is never enough money to fund and distribute. Or is there?

Discover BRITDOC, a key event for anyone involved in British documentary production (or any documentary production for that matter, no matter what nationality). Every summer the BRITDOC festival brings talented documentary filmmakers, film producers, distributors and financial forces together. Organized by The Channel 4 British Documentary Foundation and sponsored by the likes of Channel 4, More4, the UK Film Council, Skillset, Screen South, JVC and Molinare, BRITDOC truly is the place to go if you are a filmmaker; go for some true inspiration, go to discuss your ideas with the key international producers and distributors, and go to meet those who can financially back your next project.

When? 23-25th July 2008
Where? Oxford, Keble College
Themes this year? Comedy and music in documentaries!
Keynote speaker? Larry Charles (director of Seinfeld, Curb Your Enthusiasm, Borat)

For more information on this year’s festival, go to www.britdoc.org!

Once your short film is completed and you have decided to put it out onto the festival circuit, you may be surprised by the significant investment a global round of applications would take. And by investment we mean both time and funds. If you do not have the budget to apply everywhere, nor the time to complete the hundreds of applications out there either, your best bet is to find the most relevant short film festivals for your film (as opposed to only applying only to the biggest or most prestigious festivals around).

How do you do this?

One of the first things you need to do is look at what genre your film falls into. There are plenty of genre specific short film festivals out there. Is your film a comedy, a horror flick or a black and white historical drama? By choosing a smaller and more focused festival with a specific genre in mind, over a larger festival that highlights several different genres, you may have a greater chance at getting a screening or even an award. Not to mention that many execs in search of new comedy talent or other genre specific content, like to check out the niche circuit. If you have made a documentary, make sure your top five festivals you apply to be those focusing on the documentary genre.

Also consider the theme of your short film. What is your story? Are you telling a story of human rights or a compelling story about how science and scientists change our lives? The theme of your film can also guide you to the right festivals to apply to. For example: If your short film is a live action drama about a political prisoner in China, focusing your efforts on festivals that deal with human rights is a good start.  

Another thing to consider is the form you are telling your story in. Are you using animation? Is your short film a Super 8 wonder? There are festivals focused on all kinds of filmmaking techniques – from mobile video films to clay animation, there is a relevant festival out there.

Finally, who are the people behind the festival? And who have previously attended (that would be relevant to your short film)? Do your research and find out what your chances are of getting a distribution deal or being commissioned – Google the people who run the festival and see what their strengths are. You may be surprised how much relevant information you can find about a festival, its origins and previous participants successes from doing some research on the people who started and who run it all.

Some common sense will get you a long way, and can save you plenty of time and money when picking the relevant short film festivals for you. Use it.

Good luck!!

Most filmmakers know that it takes a good script to make a successful movie. While a good script can be destroyed during the filmmaking process, a film can rarely succeed anywhere if the script does not do its job from the start.

A few things to consider when you write a narrative script, where you are trying to tell a story with a beginning a middle and an end, can truly make a difference to how well your end product (your film) tells the story you have set out to tell.

Basic dramatic structure: If you are telling a story you are taking your audience on a journey, that you want them to remember. For this journey to entertain and leave your audience fulfilled by your story, your story needs to have an arc – a beginning, a middle and an end (call these acts or whatever you like, but your story needs to move through different phases). Basic dramatic structure is made up of conflict – situations where your main character(s) are challenged and the actions they take (or lack thereof) change their destiny. For example, traditional dramatic structure of a romantic comedy would be: Girl meets boy; Girl and boy fall in love; girl looses boy; girl tries to win boy back. Now, this is a simplified version of dramatic structure, but without it chances are you will struggle with your story.

Character: Know your characters before you start to write. You may have to write (or think) up pages of material on where they come from, what their favorite color is and why they hate dogs – but once you have done so this will pay off in your story. You don’t need to put all the character information into your script, actually it is much better if you don’t (!!!), but knowing your character will help your audience care about characters that are real and have depth.

Plot: Creating a roadmap of how the action of your film will unfold, beat by beat, can greatly help your script be successful (and keep it from becoming 1500+ pages long). Especially if you are writing a thriller for example, where each twist and turn will most likely need to have a purpose and eventually be resolved. Mapping out your plot, with all its twists and turns, will help make your script move forward, ensuring your characters’ actions remain relevant and true to their cause, all the way to the end.

Action: While many great films throughout history have had gorgeous scenes to establish an unforgettable mood, the most important scenes in your short film are likely to be those where the story moves forward. And, in order for your story to move forward, your scenes need to contain conflict. So, when you work through your scenes make sure most of them move the story forward. If they don’t, place them ‘on hold’ until you are done with your story and then decide whether you need them or not. For example: If you have sent your main character on holiday to Italy for a couple of scenes, even though he should be in San Diego trying to avert a nuclear disaster, you probably want to put those scenes “on hold”. Always make sure you know why and how a scene moves your story forward, if you are unsure – scrap it.

Above are just a few key elements that combine to make a good narrative script. Feel you want to add something? Hit us back. Or, browse this site - there are lectures and lots of other posts that cover screenplays and writing!

Good luck!

One of the most common mistakes of new filmmakers is to disrespect the marketing and PR of their completed work of art. Many times those who make great short films seem to forget (or simply refuse to recognize) the importance of packaging, causing their incredible film fall into darkness shortly after its first stint at a festival or a couple of screenings. But if you are not a marketing genius nor have the pockets of Donald Trump, how can you package your short film?

A couple of easy steps will get you on your way. By making sure your short film is easily found online, and having adequate material to hand to potential distributors, talent hunters or employers you can give yourself a huge advantage. Put simply: You do not need to be a PR guru and walk around with a press kit stapled to your head to draw attention to your short film.

DVD: To some of us this one goes without saying, but you would be surprised to hear how many filmmakers that never bring a DVD with their short film(s) on it when they go outside. Burn your DVD, create a nice menu (easy with today’s software), cover and make sure all your contact details are clearly visible. A nicely packaged DVD is worth its weight in gold, and more.

Website: Creating an online presence for your short film does not need to be complicated, time consuming or expensive. There are different of ways of doing this of course, one of the most recommended and cheapest (quite frankly) is to join a recognized filmmaking community such as TheSmalls.com. By uploading your film and posting our profile you make your film visible to those who search for it online. Another way is of course to create your own, dedicated website for your short film. You can surely go all out here if you do this, splurge on a fancy design and try to make it look a million dollars – or, you can make it easier for yourself and create a simple webpage that lets your film be in focus. Not a web designer yourself? Not to worry, you don’t need to be today in order to create a simple page. Get a program like Adobe Contribute CS3 (love this program) and using their template pages (alter colors, images and fonts and you make it your own!!) you are just a few hours away from being available on the web. Or, of course, if you are one of the lucky people who has a friend who can do some online magic – call in a favor. It will be worth your while; having a web presence for your short film is a key element in packaging your work.

Postcards:  After you have created your DVD and your website it is time to develop your dedicated print material. While business cards are great, they do not always inspire as much conversation as a nicely designed postcard that displays graphics or images from your short film. Needless to say, the postcard should reflect the other brand you have built around your film and always have our contact details clearly visible. These postcards are easy to carry around, and nice to pull out should someone seem interested in your short film. You can of course also use these cards whenever you are doing a screening someplace, writing personal notes to invite people to come – or as a cover note when submitting material to a producer, network or studio. 

Now, there are plenty of other things you can do – like develop nice and colorful stills that convey the mood of your short film, write a backgrounder and bio on yourself (to go on your website) and so on. But the above three steps should give you a first advantage, that you can later keep building from.

Good luck! And don’t hesitate to contact us here at TheSmalls.com if you’d like us to ad more tips for how fellow filmmakers can package their short films.

If you have completed a short film and are ready to show it to the leading creative forces in TV, film and advertising, you should upload it here on TheSmalls.com.

Whether your short film has a great narrative, is a showcase for your talent as a designer or animator, or even your own acting talent, uploading it on TheSmalls.com means that everyone from key broadcast executive to new talent decision-makers will have easy access to it. But it also means your fellow directors, writers, designers and other creative geniuses in the business will see it – opening up exciting opportunities for future collaboration and of course allowing some constructive critique of your short film.

How does it work? Before anything else, you sign up to become a member at TheSmalls.com. This is a quick and hassle-free process where you get yourself a user name and a password. To activate your account, you need to check your inbox right after you have completed sign up (or bulk/spam folder if you have such, since sometimes your activation email can be shuffled there). Then click the activation link inside your first email from us and you are all set to build your membership profile, create new friends and of course – upload your short film(s).

Many fellow TheSmalls.com members, including industry executives and other commissioners of content, love to browse from your short film page through to your member profile page. To have information about yourself, how you can be reached and so forth can therefore greatly increase your chances of building new relationships – much like you yourself may be more inclined to contact someone that has an interesting professional profile on their member pages.

Remember also that when people like your short film, they may leave comments for you. Check back regularly to see if someone has posted something – you replying to other members’ questions and comments on your work, is always appreciated by everyone.

We hope you enjoy TheSmalls.com. CLICK HERE to become a member today!

Filmmakers everywhere are quick to declare the death of independent film.  As the well-established indie film companies have shrunk their operations to cover rising costs and ‘independent film’ divisions of major studios have been absorbed back into their parent companies, it’s hard for filmmakers to ignore the question of how they will survive – especially when they are not trying to make high concept, big budget studio films.

Unfortunately, there is no quick or painless cure for indie film.  We may never get to get back the days when the independent film market was ripe with dozens of great films a year, when distributors were buying these films at Sundance for millions of dollars, and indie filmmakers were celebrated as the saviors of good filmmaking.  Some people may be comfortable enough to say that era is dead.

I tend to agree; but only in the sense that this identity and structure of indie filmmaking is no longer viable in a financial sense.  Remember, the spirit of indie films comes from somewhere else – a desire to buck the trend, to react to a particular local, national, or international crisis, and make a film with the means available.  From Scorsese to Tarantino, from Easy Rider to Swingers, as long as there are good ideas and talented filmmakers, there will be high quality independent films being made.

So what about the money?  Well anyone in independent filmmaking will tell you, there is no money in it anyway.  If you’re going to be an indie filmmaker, you are going to have to commit to doing it for the love of the art (until you ‘sell out’).  As for now, we just need to tighten our belts even more.  Make good films for less money.  Distribute on lower cost media like the internet.  Focus on your idea, and not the budget.  Buck the trend, friend, and let’s see what you got.  It’s up to you to resuscitate indie films.