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.

The Tribeca Film Institute announced the TFI Sloan Filmmaker Fund Recipients this week. Five film projects are to receive financial and creative support from the TFI Sloan Filmmaker fund, supported by the Alfred P. Sloan Foundation. A total of $170,000 with development assistance and mentorship from film and science experts is distributed between the projects.

The TFI Sloan Filmmaker Fund supports feature-length films that “tell compelling stories about science and technology or portray scientists, engineers and mathematicians as major characters.” This year’s projects were selected from a pool of 138 submissions, and the committee was made up of Marc Abraham (Director, Flash of Genius) Dr. Bonnie Bassler (Molecular Biologist, Princeton University), Sarah Green (Producer, The Tree of Life), Famke Janssen (Actress, X-Men), Dr. Eric Kandel (Nobel Prize in Physiology/Medicine), Dr. Robert Engle (Nobel Prize in Economics) and John Hart (Producer, Revolutionary Road).
 
The projects chosen are:

COCKEYED - $40,000
BANKER TO THE POOR - $40,000
THEY’RE PLAYING BASKETBALL - $15,000
EXPERIMENTER: THE STANLEY MILGRAM STORY - $35,00
SUGAR PILL - $40,000

Congratulations to the winners from The Smalls! The Smalls always love to hear news about organizations such as the Alfred P. Sloan Foundation that does so much to help talented filmmakers with great stories to tell.

For more information on the projects, the winners or on the Alfred P. Sloan Foundation’s work with the Tribeca Film Institute, go to: http://www.tribecafilminstitute.org/ or http://www.sloan.org/.

Saturday 2nd – Sunday 3rd May, 2009

During this weekend intensive you can obtain all the insider tips and tools that a professional screenwriter needs. Hosted by the London Script Consultancy, the course promises to teach you the secrets of Tarantino, Callie Khouri and Joe Estahaus – secrets that can put you at the top of the league of screenwriters. Cost: £165.

To learn more go to http://www.scriptconsultancy.com

The early deadline of the Canary Wharf Film Festival is approaching! UK and International short films that are less than 15 minutes in length can apply in the categories of Animation, Documentary, Experimental and Live Action. The May 13 early deadline has a GBP5 entry fee, final deadline of June 24th has a GBP8 entry fee.

The film festival takes place 3rd to 7th of September, 2009 at Cineworld West India Quay, Museum in Docklands and East Wintergarden. All the details of the program will be made official in August.

Find entry forms and other festival information at http://www.cwff.org.uk

Attention all filmmakers active in Asian and Asian American cinema: On October 15-19, 2009 The 10th Annual San Diego Asian Film Festival takes place, and you are still able to submit your films for it! The final submission deadline is 10th of June.

All films entered are eligible for a $1000 Jury Winner prize. It costs $40 fee to apply.

For entry forms and further festival information go to http://www.sdaff.org

GOOD LUCK!

The Assistant Director (AD) is responsible for keeping a production moving forward and on schedule. He/She will typically work with both the Director and the Production Manager in determining the shooting schedule and monitoring daily movement relative to the confirmed filming production schedule. If practical problems need solving they typically fall onto the Assistant Director’s lap, as does keeping track of the filmmaking crew and staff (making sure they are there, and then that they are behaving and rehearsing as they should). Sometimes a Director will let his/her Assistant Director direct extras, background shots or other smaller sequences of the film. Otherwise the job pretty much entails everything from call sheets to keeping a timer on the Director. In the old days, Assistant Directors often aspired to become Directors. Today however due to how the role has evolved into something closer related to production management, Assistant Directors more often progress to become a Producer or Production Manager.

There can be several Assistant Directors on a filmmaking crew. Typically the First Assistant Director (1st AD) will rule the set, work more closely with the Director and manage any extras or other filmmaking staff and smaller talent. The Second Assistant Director (2nd AD) will organize all the paperwork (call sheets, union contracts and keep relevant cast on time and in place for the 1st AD to direct them). In some places, such as the UK, Australia and some other countries there are even more layers of Assistant Directors than these.

Good skills to have if you are considering a career move into becoming an Assistant Director:

Organizational skills (be prepared to juggle a million things at the same time)

People skills (you’d be surprised how much drama a filmmaking set can produce, off camera)

Leadership skills (being in charge of many things, from equipment to extras you need to be able to make people listen and follow you)

Listening skills (paying attention is Assistant Director skills 101)

Ways to become an Assistant Director:

Participate in the production of as many short films as you can, to expand your knowledge of all aspects of shooting and running a set – no matter how small the project, you will always learn something.

Take courses at local training programs and film schools, if for no other reason but to get to shoot in a studio, handle equipment and work with others (i.e. put your people skills to the test before you work on someone else’s film).

See if you can shadow a Production Manager, even just as a volunteer. Learn from him/her and see how the Assistant Directors on the set where he/she works behave (i.e. approach them carefully, be friendly and ask questions without getting in their way).

The best way to learn how to become a good Assistant Director is to be on a set, and get hands on experience, so be prepared to start someplace with less responsibility and then work your way up steadily.

GOOD LUCK!

To learn more about other kinds of filmmaking crew & staff, keep checking back with The Smalls!

The Smalls is a great resource for talented filmmakers around the world. Created to bring new talent and entertainment industry leaders together, The Smalls has a wide range of features available to assist writers, directors, producers and other creative talent move forward and up.

Here are the TOP 10 WAYS THE SMALLS CAN HELP YOU as a filmmaker:

1. HAVE YOUR BEST WORK SEEN BY INDUSTRY COMMISSIONERS OF CONTENT. Some of the world’s largest entertainment brands are represented within The Smalls community, and they frequently browse the site for new talent. UPLOAD YOUR FILMS TODAY AND USE OUR OTHER FEATURES TO PROMOTE YOUR FILM TO THE RIGHT INDUSTRY EXECUTIVES OUT THERE. THEY ARE WAITING FOR YOU.

2. SHOWCASE YOUR BREADTH OF FILMMAKING TALENT TO INCREASE EXPOSURE ACROSS GENRES AND SKILLS. Our REELS section is available for filmmakers to showcase a variety of their work. This is a unique opportunity to show off your best work in a professional setting. Use it.

3. FIND CREATIVE JOBS AND GIGS. Take an active role in furthering your career by searching our selection of high-caliber creative jobs. We may not list hundreds of jobs on The Smalls, but the ones we do list in our BRIEF section are with some of the most cutting-edge production companies, creative agencies, studios and networks out there. The listings may be few right now, but the opportunities with these superb companies can be endless.

4. GET INSIDER TIPS AND ADVICE. Our writers and editors have worked with some of the greatest films, producers, directors and screenwriters of our time. They are working tirelessly to bring you ARTICLES on everything from writing a query letter to creative financing methods for low budget filmmaking projects.

5. FINANCE YOUR NEXT FILM. The Smalls community is full of opportunity to identify film completion funds, film grants and other financing. Whether you find the open calls or they find you, the tools are here for you to use. Check out the FORUMS for places to list your projects, and for producers looking for projects. Also browse our ARTICLES for all the latest opportunities that are listed every week.

6. FIND COLLABORATORS. Our membership base is a gold mine for anyone seeking world-class animators, designers, art directors, directors, producers, writers, composers – you name it, they are here on The Smalls.

7. MAKE MUSIC WITH YOUR FILM. Or make film with somebody’s music. The MUSIC section on The Smalls holds everything from folk to funk, and the many musical artists and composers that feature their work on the site are incredibly talented. If your film needs a professional soundtrack or you need inspiration for your next award-winning film, you won’t miss a beat here.

8. CATCH FESTIVALS AND TRAINING OPPORTUNITIES. Every month, there are hundreds of film festivals taking place around the world. The Smalls posts news about calls for entries and sign-up sessions every week. If you are serious about getting your film into festivals, stay tuned in and check The Smalls ARTICLES and FORUMS regularly.

9. BE INSPIRED. Apart from getting constructive feedback from fellow filmmakers, The Smalls is also a place to find inspiration. Watch great films, discover new perspectives on subjects, people and themes. Laugh, cry and enjoy the fact that you are part of a community where award-winning comedy, drama, animation, music videos and documentaries are the norm, not the exception.

10. ENTER THE SMALLS AWARDS AND THE COMEDY SMALLS – GET COMMISSIONED AND GET SEEN. Our competitions and screening events are excellent opportunities for a deal with a major network, to have your short films seen on TV and your ideas heard by Talent Directors at major studios and broadcasters. Keep your eyes open for our next great competition, it is coming soon!

Whether you already have a reel of great work or are about to make your very first film, The Smalls wants to be a supportive friend. We welcome all talented filmmakers to our community, and cannot wait to hear of your future successes.

SEE YOU AROUND ON THE SMALLS!

In order to know what your dreams are, you need to know what is out there. The Smalls has a series of articles that will answer most of your initial questions about “who does what” in the entertainment business. What are the different members of a filmmaking crew & staff actually responsible for? And what does it take to land a particular job?

In our Filmmaking Crew & Staff article series we will outline job descriptions, the skills required and how to get a job in any of the given fields. Some of the staff and crew positions we will cover include:

Assistant Director
Boom Operator
Casting Director
Clapper Loader
Costume Designer
Director
Director of Photography (DOP) / Cinematographer
Editor
Gaffer
Grip
Lighting Technician
Line Producer
Location Manager
Make Up Artist
Producer
Production Designer
Production Assistant
Property Master
Set Decorator
Screenwriter
Script Supervisor
Sound Recorder
Stills Photographer
Storyboard Artist

And more…

Enjoy!

Have you ever wondered who checks that every piece of furniture, wall hanging, or weapon is acquired for a film in order to achieve its special ‘look’ and ‘style’? Meet the Property Master, the preproduction guru that is responsible for buying or creating any property that a film production requires. When the film moves into production, the Property Master often continues working side by side with the Director, the Production Designer, the Set Decorator and everyone on the filmmaking crew to ensure the chosen aesthetic is carried through from scene to scene.

The Property Master needs to be in touch with everyone who works on a film, to make certain that the physical appearance of each beat is fluent throughout every step of production. From the Screenwriter or Script Supervisor to the Costume Designer or Camera Operator, the Property Master remains tuned in from the first day to the last.

Sometimes a Property Master heads up a team of professionals that each are accountable for their own kind of physical property – animals, weapons, costumes and artwork are only some of the kinds of specialized areas of responsibility. Basically, anything portable that is used on a set usually come under the responsibility of the Property Master.

Good skills to have if you are considering a career as a Property Master:

MacGyver skills (you need to be detail oriented, able to think on your feet and create something out of nothing)

Creative skills (whether you are just fabulous at interior design or carpentry, your creative skills will take you a long way)

Financial skills (no need to be an accountant at all, but basic budgetary skills are good since you often will have your own budget to manage)

Leadership skills (oftentimes you need to head up a team of collaborators)

Ways to become a Property Master:

Assist a carpenter who does a lot of film and television work. Learn as much about carpentry while also getting the scoop of how property is often built for a set.

Take Production Assistant jobs that get you closer to the Property Master. Work close to wardrobe and decoration staff and learn as much as possible.

Work in the art department of any film production you can possibly get into.

While waiting for film or television experience, ask to volunteer at your local theater and learn from their property staff – this is usually invaluable experience.

GOOD LUCK!

******

To learn more about other kinds of filmmaking crew & staff, keep checking back with The Smalls!

ART BY CHANCE received hundreds of films from 37 countries.

Good Luck to participants and Thanks to everyone who contributed to WOM of the festival.

Within the first week of May we will publish the complete list of the selected works.

In October 2009 it's time for the second annual FIA Animation Festival in Stockholm, Sweden. Films from all over the world, exhibitions, workshops, guests, parties and debates about animation! This year's festival will take place at Kulturhuset (the Culture House) and at Cinema Rio in Stockholm. We are now asking for your contribution. Films produced in 2008 and 2009 can be selected to participate. Deadline for submission is August 19, 2009.
 
You can see the splendid program from last year's festival on our site (www.fiastockholm.se).

Please submit your application online at www.fiastockholm.se and send your DVD (PAL) to:

FIA (Forum for International Animation in Stockholm)
Box 9029
102 71 Stockholm

Ready to finance your own projects? Check out the No Budget Film School in LA taught by producer Mark Stolaroff and other no budget filmmaking experts, you could learn how to make the most out of what you have in terms of resources or how to avoid costly mistakes. The course is tailored to filmmakers with budgets of $0 - $200,000, will happen May 30-31, 2009, and requires registration.

For more information go to http://www.NoBudgetFilmSchool.com

Just like everyone, The Smalls team keeps an eye on what is happening in the entertainment world.  This last week has been a bit of a downer, but we thought we’d give you a quick recap all the same. Here’s some movie, TV and DVD news stuff we thought was noteworthy. 

On-location film and TV shoots in L.A. hit lowest levels on record. No surprises there, since everyone is feeling the pinch (or should we say PUNCH) of the recession. Film shooting and TV commercial shooting was down while shooting of TV shows was actually up by a staggering amount; duh, maybe because during Q1 of last year the writer’s strike dropped TV show shoots down to a minimum.

Luckily Jack Bauer will stay faithful. Even though the Fox series “24” will nip over to New York City for some spicy scenes in the next season, the successful show will still do the majority of their filming in Los Angeles. Hurray!

The Reader is OUT. Finally, all of us who have been confused over the marketing of the film as a thriller when all the trailers are shot as gloomy drama can discover the truth behind it all. The Reader hit DVD stands all over the place this week.

Michelle Pfeiffer limps straight to DVD. Whether it comes as a result of a disappearing independent audience or her own choice in films, it seems Pfeiffer’s latest movie Personal Effects will go straight to DVD. Her last movie I Could Never Be Your Woman also stumbled straight onto DVD. Fair enough, maybe Paul Rudd was not enough man. But come on – would Ashton Kutcher really not be enough to marathon Personal Effects into the theatre? Hm, on second thought, maybe this IS Ashton’s fault – maybe he has been too busy beating CNN in reaching 1million Twitter followers.

Observe and Report is officially very green. At least according to Warner Bros. spokesperson alias Governor Bill Richardson who says the company’s ninth film shot in New Mexico followed a series of environmentally sustainable practices. Well done! Ps. Did anyone check if they used recycled screenplay material also?

Octomom gets TV deal. Well done British company Eyeworks for clinching the deal from all other first-class bidders! Hopefully the US never has to see what comes out, unless they tune into Dr. Phil of course.

See you soon for more movie, TV and DVD news!

Submit your narrative feature, narrative short, documentary feature or documentary short – even your screenplay – to this New York City based showcase for urban, ethnic and multicultural cinema. The festival runs September 23-27, 2009 and has since its inception 13 years go screened over 700 features, shorts and documentaries. Early bird submission deadline is May 4th, 2009.

To learn more go to www.urbanworld.org.

Good luck!

If you have a thing about the glitzy world of fashion, and especially if you have always been fascinated by haute couture giant Valentino, you cannot afford to miss these screening + Q&A events at Film Forum in New York City.

Go, watch the film and then sit in for some great insider information from the director and producer himself, Matt Tyrnauer.

The film screens on a few different occasions, but if you want the Q&A, check out the events on Tuesday April 14 and Wednesday April 15.

This is what the Film Forum website says about Matt Tyrnauer and the film:

MATT TYRNAUER, LONGTIME VANITY FAIR EDITOR AND WRITER, TAKES ON HAUTE COUTURE ICON VALENTINO, a man whose fabulous gowns have graced the bodies of the world’s most glamorous women for nearly five decades. The film was shot over two years — in Paris, Rome, London, NY, Gstaad, and aboard Valentino’s yacht — during a period when rumors of the designer’s retirement were swirling about him and partner Giancarlo Giammetti. The filmmaker had extraordinary access to these men, partners in both business and life, whose arguments over the need for more ruffles or the appropriateness of sand dunes for a runway show are inevitably reduced to the intimacy and warmth that are the bedrock of their relationship.

Screening times according to the Film Forum website:

Tuesday, April 14, 8:10 show
Q&A with Vanity Fair’s Bob Colacello and Tyrnauer

Wednesday, April 15, 8:10 show
Q&A with Tyrnauer and a SPECIAL GUEST

For more information and to confirm times, prizes and other information go to http://www.filmforum.org/films/valentino.html

Have fun and of course let us know how it was!

Our FORUMS continually draws fellow professionals, aspiring filmmakers, and all types of creative artists from graphic designers to actors looking for collaborators.  

When the script is set and your mind is filled with wonderful images you’re ready to capture, the next step is to put together your team to actually shoot your short film.  Whether you are going to ask friends, family, acquaintances, or approach fellow aspiring artists for the first time, choosing them wisely is important in order to create an environment that is efficient and productive for filmmaking.  So what are the qualities you should be looking for?  Here are some quick essentials:

Experience in short filmmaking.  Sounds obvious, but not everyone wants to work with experienced people, especially when they’re just starting out themselves.  But if someone you’re considering to work with has experience on set, that’s a huge plus.  You can benefit from actors who don’t get self conscious in front of a camera or crew, and anyone who knows how to dress a set, hang lights, and tape down wires and cords can save you time and keep the production going speedily.  No one is going to try to challenge you if that’s what you’re worried about – really.

Proven responsibility.  You’re most likely going to have a few friends on set, so make sure when you give them a job that they can handle it.  Very few times will you want to see if someone will ‘rise to the occasion’ – if they don’t, that’s going to be a huge detriment.  For any cast or crew you don’t know, see if you can find out anything about their past reputation – if they’re difficult, or always late, or just plain incompetent, someone who has worked with them before will be more than happy to tell you.

Eager beavers.  You want people who are as passionate about the project as you are.  You’ll get a sense of who is really excited and who is doing it as a favor to you, or just to get something else on the resume.  Be sure to discuss what they like about the script, ask about their concerns about the shoot, and why they want to be involved – you’ll be able to see who you think you can work with and is best for your short filmmaking process.

It’s a team, so treat it like one.  Get to know their strengths and weaknesses quickly, and assign them jobs accordingly.  Prepare wisely, and you will see your production go more smoothly than you ever imagined.

Got a film that promotes peace and dialogue between people and different social groups? Check out A Film For Peace or Un Film Per La Pace, a film festival held in Medea Italy. All films that handle these important subjects are welcome to enter their projects before April 20, 2009.

To download an application for or learn more about festival dates and other information, please go to www.unfilmperlapace.it.

Good luck!

Many are dying to break into film and television by working their way up from being a Production Assistant (PA) and moving onto other things. Those who are lucky and skilled enough to secure one of these valued Production Assistant positions know it takes a lot of hard work and commitment to make it through to better things. If you are wondering how to become a Production Assistant, or how to get your foot through the door, here are some tips.

Ever hear of ‘The Line’ in short filmmaking? No, we’re not talking about when actors forget their dialogue, and helplessly call out to a PA, or even worse improvise stuff that wouldn’t make it onto the worst soap operas. No, ‘The Line’ is one of the most basic and classic rules about filmmaking – it’s the imaginary boundary where no film camera should cross in order to keep the visual logic of a shot intact.

Still fuzzy about what we mean? Well, think of a simple 2D comic strip, with two characters – Bob and Babs – standing on opposite sides within the frame. Visual logic allows our brains to comprehend any shift in perspective along this plane, as long as we don’t go beyond the line at which they stand. So if Bob is to the left, and Babs is to the right, as long as they are still facing each other in the same orientation the same time, you can do whatever you want - zoom in, use a dutch angle, or go for an over the shoulder perspective.

The moment you break ‘The Line’ however, it can be incredibly disorienting to the viewer. If Bob is suddenly on the right, not the left, with no explanation, it breaks a natural flow and visual logic. That doesn’t mean you can’t ever cross the line – breaking ‘film rules’ is what the medium is all about, and effectively doing it can be a useful storytelling tool for your short film.

Good luck!

August 17th And 18th, London

Are you looking to develop your core technical skills in shooting and recording video and sound on HDV cameras for broadcast? This 2-day intensive camera training from Infinite Wisdom Productions may be for you. Workshops and instruction here can help you learn how to direct self-shoot content for documentary and factual programming. Suitable for beginners and anyone looking to develop their core technical skills. Cost £495+VAT.

To learn more go to http://www.iwisdom.co.uk