ASK & DISCUSS INDEX

9 years, 5 months ago - AndBut Films

This is a great question. The story of your career so far ought to be recomended as essential reading for anyone starting out in the industry. This is the kind of persistence required, and even so you have a long way to go. There are no overnight successes in film.

Advice, other than to hang in there and keep doing what you are doing?
This: Success as a director comes from taking two paths simultaneously: those of of insider and outsider.

You have to keep seeking work and finance inside the industry. You are doing that with your features and by trying to get the right representation. When will you get what you need? It could happen tomorrow or it could take ten years or more. Really. It will only hapen if you keep trying.

However, you can't get far that way until you have proven yourself outside the industry. If you need more work on your reel you have to produce it yourself. On spec. You have to write more scripts. On spec. Alongside the films you are trying to raise money for, you have to make some films you don't have to raise money for. You can seek finance for years or you can self-finance cheaply, make a name for yourself, and then offers will come to you.

To you and others serious about the double path, feel free get in touch:
filmpartners@andbut.co.uk

9 years, 5 months ago - Paddy Robinson-Griffin

Heh it's a tough one - the problem is the creative talent outnumbers the cash productions, so frankly LUCK plays a major role. In fact if anyone successful in the industry doesn't mention luck (good or bad, depending on your perspective!), they're probably also delusional.

You can optimise your chances of getting lucky by keeping going, talking to people, showing superhuman determination, doing loads of spec work, etc. I met a bunch of people here best part of a decade ago, they helped me on a project. I've kept in touch with some, and was able to offer them occasional paid work, and over time, they could offer me similar. One of those guys, I'm producing his 4th and 5th feature films this year, each at several million quid. Luck and spec work and building relationships pays off eventually!

9 years, 5 months ago - Ben Rider

It's unlikely anyone on Shooting People is going to know the answer.

9 years, 5 months ago - Adam Ethan Crow

Much like you I had some success with a short film (18 months ago) that picked up a slew of awards and even distribution and has in fact made me money, it opened many doors for me within the industry. And like you I keep at it, I've since written three scripts, two sold, one optioned - in fact I'm currently in prep to direct two films this year. ...But!!!!!! Even though sets are being built and actors auditioned, I am still working on other projects, because until I get my call time to hit the set on the first day of shooting, I will not assume I am actually making the film.
I have met so many bullshitters in this industry it is amazing, so all you can do is have faith in your ability. Yup, all looks great at the moment, but I assume nothing. In my mind all any of us can do is make as many contacts as you can, keeps many plates spinning as possible and never rest on your laurels. This job is not for the faint hearted mate, dig in and keep writing, keep directing shorts, or commercials, meeting people. You haven't failed until you stop trying.
Good luck. ...Crow out!

9 years, 5 months ago - Stephen M. Hunt

While I've done nothing whatsoever that equates with an academy nomination, I did have a short script of mine filmed by an Emmy winning director that did well in festivals. Seeing my name on screen alongside an Emmy winner mad me think I'd arrived in the big time!! And subsequently I did option another feature and I've 3 shorts slated for 2016. But in truth, the industry isn't banging my door down and I'm as far removed from the "big time" as ever. Its ironic that real achievements are actually not much on their own. So I agree with Paddy "..luck, networking, super human determination and spec work, spec work, spec work, spec work !!.." (did I mention spec work?) I can't imagine that an academy nominee couldn't make a big impact with cost-effective spec work at Sundance and the other respected festivals. Of course, always talk about your fantastic achievement but don't let it derail you. Forget it, put it behind you and grind away with cost-effective spec work, spec work, spec work.

9 years, 5 months ago - Gareth Bowler

Hi Rahul,

what you've written there is terrifying and humbling for someone in my position and woke me up this morning more than my coffee.

But a quick google quickly put things in perspective...

You've got to let go of that short... forget agents, conference calls, developing scripts, representation and all the rest of it and get back to making good work.

if you start making good work from the heart again things will somehow work out.

9 years, 5 months ago - Alève Mine

Designers don't seem to agree on the spec work thing: https://youtu.be/DsstOs-K7gk

Rahul in your case it may be that they see you as a culturally specific filmmaker. You may want to make some more mainstream stuff, pleasing to the eye (not to forget the ears). Or: look for representation that is strong in this cultural area. That said, the theme that is close to you is valid for other cultures, too. If you implement it in those cultures. One of my closest friends is partially Indian and we understand each other because we are both in this group of people you're depicting.

9 years, 5 months ago - Chris Neilan

How much money can you get your hands on, for sure, within the next 4 weeks? £100? £500? £10,000? However much the amount is, write a feature script that you can shoot for that amount, and go shoot it. Ben Wheatley said if he'd waited around for someone to commission Down Terrace he'd still be wandering around Soho with his unmade script in his hand. Instead he's probably the leading independent director in the UK. Down Terrace cost £6000 (£2000 each from him, his co-writer/star and his producer) and was shot in 8 days. Write something set almost exclusively in one location (house, shop, bar, warehouse) and make sure it's a location you can easily get free access to. Write parts specifically for actors who you know, or if you don't know any actors you like meet actors first and write parts specifically for them - this will help you get around the lower ability levels that you might encounter with less experienced actors, and make the film feel more authentic. Cast mostly non-professionals, with one or two trained actors in lead roles (this is what Lynne Ramsay did in her early films). Essentially, assess what assets you have available to you, and write a script strictly limited to those assets. Set a shooting date so you don't waiver.

9 years, 5 months ago - Dan Selakovich

Congrats on making it to the top 10 shorts for Oscar consideration. That's not nothing! Though a nomination would have gotten you noticed, of course.

If you've only written 2 features, that's not enough. Write more. Writers that have been successful, on average, have written 9 before writing something that sold. Pick a name actor you love, and write with them in mind. You never know. I've had 2 screenplays optioned when option money was something you could live on (a long time ago!). When you submit a script to a production company, make sure that it fits the genre of that company. You wouldn't submit an action film to Killer Films, for example. This is more important than it seems. You can't cultivate a relationship with a producer giving them shit they don't do. You'll just piss them off.

If you're waiting for money people, you'll be waiting forever. Over the last 30 years, I've been attached to so many films trying to raise money that I've lost count. And that was before piracy--investors are really gun shy now because of it. Chris makes a good point: make a feature with the resources you have now. Tangerine was shot on an iPhone. It was a Sundance darling and Magnolia Pictures picked it up for distribution. So, make a movie.

On a side note, take some acting classes. I looked at the trailer for your short, and you simply have to get better at pulling a good performance out of your actors. Knowing the actor's language is something an acting class could give you. Performance is something I simply shouldn't notice on a trailer, but I did. 99% of my career was working uncredited, fixing films in trouble. A major part of my work was shaping a performance in the editing room so that an audience could connect emotionally with the characters. If you can't get a good performance, shoot a lot of coverage so that you can shape it later. I don't mean this to be a dick move on my part, but just a piece of advice.

9 years, 5 months ago - Dave Young

Some great advice by the previous posters. Sadly being in the right place at the right time and having the right connections counts for a lot. So I would say network more and meet new people in the industry.

Sadly, winning awards isn't everything: my editor won an EMMY and thought when he got home after receiving the trophy the phone would ring...but it didn't...he had to continue to make contacts and hassle for work.

A few years ago I was signed by a big name directors agent....they thought i was the new best thing....and then dumped 3 months later for not being "commercial enough". Go figure.

Recently I've started working on my own projects and have had success selling them and getting similar work on the back of them. Not as lucrative as the corporate/commercial work I previously made but much more rewarding in every other way.

I you want to chat feel free to call me.

9 years, 5 months ago - Matt Harris

Hey Rahul,

I disagree on those proposing spec work

NEVER do spec work...It devalues everything you do. Remember Heath Ledger as the Joker in The Dark Knight

"If you're good at something, never do it for free".

It's one of those things that as per the link above designers are trying to stop (read this ; http://www.nospec.com/) but I definitely agree with the last poster, get out there, network and make more contacts. Make your own films for creative freedom and have you seen Genero.tv - a bit of a turkey shoot in actually winning projects but the budgets are realistic and a good opportunity to storyboard and think creatively for commercial briefs.

Just my 2 cents...

9 years, 5 months ago - Matt Harris

oh and this is a great film on why you don't do spec.. https://www.youtube.com/watch?v=essNmNOrQto