Short Films vs. Features and Other Stuff

Your Angry Filmmaker Tip of the Day.

If you're convinced that a major feature is your future, it’s imperative that you start with short films, to learn your craft and build a track record.

Short films should be really short. In the 3 – 8 minute range. I can do 5 or 6 short films for what many people spend on a 25 minute film, which means I'm learning a lot more about my craft and I have 5 different films out in the real world working for me, while other people only have one.
-- from The Angry Filmmaker Survival Guide (coming really soon)

You don’t go to medical school and upon graduation walk in to an operating room and start cutting away on patients. A new mechanic doesn’t tear a new car apart on his first day on the job. If you want to be a pilot you don’t jump into a 747 and say “okay, let’s take off. I can drive a car how much harder can this be?”

Yet most people think they can make a feature when they’ve never made any films??? I don’t understand this.

If you have been to my workshops you know that I stress over and over again that if you want to make features you need to start by making short films. Filmmaking, like so many other things is a craft. The more you do it, the better you get. You learn by trial and error.

When I was in film school I made some horrible films. I made some good ones too, but my bad ones were really bad. And I learned more from the bad films I made then from the good ones. I usually was trying something new and different, something I had never done before. And when I failed I could go back and see why I failed. What did I do wrong and what will I try again in the future.

I always tell people its okay to fail when you’re in school or when you’re making short films. If they’re really bad you will have a short period where you’re humbled and humiliated and then it’s done. You go on and make another short. If you make a bad feature, that sticks with you. People remember bad features, they rarely remember bad shorts.

By making short films you learn about budgeting, script breakdowns, scheduling, casting, working with actors, working with crew and how long it can take to do lighting set ups. Which part of this doesn’t translate in to making features?

Whenever I made my short films I was always looking at something new to learn in addition to making the short. How many set ups could I do in a single day? How much coverage could I get without moving the lights? Was it faster to shoot exteriors or interiors? Lights versus reflectors? What about permits? How can I schedule things better and more efficiently?

I can look at any one of my short films and point to what I learned on each one. On one of my films I was working with actors for the first time and I‘ve never felt like it worked. I learned that if you want good acting you couldn’t just set up the camera and tell the actors what you wanted. You had to work with them long before you ever set foot on the set. I learned on one short that the entire crew and the equipment had to be in as few vehicles as possible. That way no one would get lost, again…

I learned about how important good food is to a crew if you wanted to keep them working. I learned how to put together a good shooting schedule through trial and error, and what to do if you lose a location, or an actor on the day of the shoot.

I learned how to look like a big professional crew when I wanted to, and how to look like a bunch of amateurs when I needed to. I can make a small crew work like a big one and as one of my DP’s likes to say, “I can be one of the best Director/Assistant Cameramen in the business.”

If you have this vision of yourself in front of a big crew sitting on your director’s chair telling everyone what to do and then watching video playback you are in the wrong business.

What making short films has taught me is that I can take very little money and make it look like a lot more on the screen. I can have a crew work really hard and efficient and still have fun. I am relaxed on the set because I know what to do when things go wrong, and sooner or later things will go wrong. I have an alternate plan for all occasions because nothing ever goes exactly the way you planned. If I am relaxed so is the crew. They know that I am on control and no matter what happens it’ll get taken care of.

Making short films gave me the confidence to make a feature when I finally did it. I knew enough about my craft that I could get myself out of any problems that might come up. I wouldn’t have known that without making those 8 short films.

I let my crews do what they do best and I don’t micro manage them because I know what they do best and I have done most of those jobs myself.

When you finally get to make your feature you have to approach it as though it might be the only one you ever get to make. Give it everything you have, and if you have learned your lessons from earlier films, you’ll be just fine.

Other stuff.

Happy Birthday Dad! I hope your day is a good one.

Internet Special!!!!
Go to www.angryfilmmaker.com and check out my films. Between now and August 1st, 2008 if you order any 2 of my DVDs I will send you my Sound Work Book for free! If you want to know about the three types of microphones or what the most important element in Sound Design is then you need this book. It is crammed full of tips on Sound for films. Order any 2 DVDs and you get my knowledge and sound tips for free. Two DVDs will set you back $20 + $10 shipping and handling and for that you get the Sound Work Book (a $10 value) for free. Now that’s a deal!

And just a reminder, I am available to consult on your films.

What do you get out of the deal? You get the best value and advice in making your film. No matter what stage you’re in. I’ve been in the business for 25 years, working on everything from animation to live action, Independent features, Real Independent features, Hollywood studio stuff, and documentaries. If you check out my bio and filmography (www.angryfilmmaker.com/who.htm) you’ll see I’ve worked on award winning films, and films that never got distribution.

I will look at your work honestly and objectively. If there are problems, I’ll point them out, in a constructive way. No one wants to hear, “This sucks!” My goal is to guide you through the process, so that you can see what the problems are, and we’ll come up with ways to fix them. Check out (www.angryfilmmaker.com/consulting.htm.)

Talk later.

Kelley

www.angryfilmmaker.com
www.facebook.com
www.myspace.com/theangryfilmmaker
www.youtube.com/theangryfilmmaker

Your Screenplay Sucks! Wikipedia and other Stuff

Hey Everybody,

Your Screenplay Sucks is the name of a new book by William M. Akers. Actually its whole title is, Your Screenplay Sucks! 100 Ways to Make It Great. (ISBN 978-1-932907-45-2 Go to www.yourscreenplaysucks.com.)

There are so many books out there on screenwriting these days it’s hard to tell the good ones from the bad. This is one of the good ones. William Akers walks you through so many common mistakes that all writers make, not just first timers. Akers book talks to the novice writer and the experienced one. He has information for people who want to make Hollywood films, and for Independents. In his book it all comes down to the same thing, having a good story and telling it well.

This book is am amazing resource for any writer and to top it all off, it’s funny! Akers has a great sense of humor. In addition to learning, I was laughing. He has an engaging writing style and although he takes his subject seriously, you can tell he doesn’t take himself seriously. He has fun with this book. He also reprints things from the web, certain scripts, and he recounts conversations with other writers and filmmakers. What were they thinking when they were working on something? What were the problems they encountered and how did they over come them?
Check out my complete review of Akers book on my blog, http://angryfilmmaker.blogspot.com. Or you can order Your Screenplay Sucks! 100 Ways to Make It Great. (ISBN 978-1-932907-45-2) through Akers website, www.yourscreenplaysucks.com.
Other stuff.

Internet Special!!!!
Go to www.angryfilmmaker.com and check out my films. Between now and August 1st, 2008 if you order any 2 of my DVDs I will send you my Sound Work Book for free! If you want to know about the three types of microphones or what the most important element in Sound Design is then you need this book. It is crammed full of tips on Sound for films. Order any 2 DVDs and you get my knowledge and sound tips for free. Two DVDs will set you back $20 + $10 shipping and handling and for that you get the Sound Work Book (a $10 value) for free. Now that’s a deal!

I am on Wikipedia! Check it out, http://en.wikipedia.org/wiki/Kelley_baker.

The Fall Tour is steaming along. I am excited to be promoting my new book, The Angry Filmmaker Survival Guide: Making the Extreme No-Budget Film. The book will be out shortly and my tour kicks off on September 9th at Creative Alliance in Baltimore. Moses and I will be on the road for 2 months. There are still dates available so if you want to book me send me a note, angryfilminfo@aol.com.

And just a reminder, I am available to consult on your films.

What do you get out of the deal? You get the best value and advice in making your film. No matter what stage you’re in. I’ve been in the business for 25 years, working on everything from animation to live action, Independent features, Real Independent features, Hollywood studio stuff, and documentaries. If you check out my bio and filmography (www.angryfilmmaker.com/who.htm) you’ll see I’ve worked on award winning films, and films that never got distribution.

I will look at your work honestly and objectively. If there are problems, I’ll point them out, in a constructive way. No one wants to hear, “This sucks!” My goal is to guide you through the process, so that you can see what the problems are, and we’ll come up with ways to fix them. Check out (www.angryfilmmaker.com/consulting.htm.)

As always,

Talk later,

Kelley

www.angryfilmmaker.com
www.myspace.com/theangryfilmmaker
www.youtube.com/theangryfilmmaker

Your Screenplay Sucks!

How many times have we heard that? But this time it’s different.

Your Screenplay Sucks is the name of a new book by William M. Akers. Actually its whole title is, Your Screenplay Sucks! 100 Ways to Make It Great. (ISBN 978-1-932907-45-2 Go to www.yourscreenplaysucks.com.)

There are so many books out there on screenwriting these days it’s hard to tell the good ones from the bad. This is one of the good ones. William Akers walks you through so many common mistakes that all writers make, not just first timers. Akers book talks to the novice writer and the experienced one. He has information for people who want to make Hollywood films, and for Independents. In his book it all comes down to the same thing, having a good story and telling it well.

Here is one passage I found extremely interesting.

“You are asking upwards of $100,000 for said work. You’re asking someone to spend from $100,000 to $100,000,000 to produce something you just made up. You need to get this stuff right. You need scene description that sings. You need to have lively minor characters. You need to run your spellcheck. Like that. What I'm telling you is simple to execute. It has nothing to do with talent or mythic story structure or round characters. I'm not telling you “how to write a great script.” There are plenty of good books for that. What I am giving you are guidelines to make sure the reader keeps reading.

I once sat next to a producer on a plane and watched her read six pages and put a script down. That writer spent months and months on his script but, for some reason, blew his chance by page six. Probably for a long list of reasons”

In William Akers world it doesn’t matter what kind of a film you are writing and what you intend to do with it, you need to make it original and interesting.

Akers wants us to tell good stories, whether we sell them to Hollywood, or make them ourselves.

He understands the writing process because he is a writer. Akers has written and sold scripts, and he teaches writing and filmmaking at Vanderbilt University. He teaches the craft of writing every day. He knows what works, and what doesn’t. But the best part is that over they years William has seen people make the same mistakes over and over. He takes those common mistakes and he addresses them.

Among the 100 things in this book are:

You picked the wrong main character! We have no rooting interest in your hero! Your Bad Guy isn’t great! Your characters do stupid things to move the story forward, a.k.a., they do stuff because you make them! You don’t have enough tension! You haven’t cut the first or last lines from as many scenes as possible! You have Q & A dialogue! Too many of your characters have names! And, You haven't cut as many “thes” and “thats” as possible!

Akers doesn’t just point these out and tell you to do them; he goes in to great detail telling us why we need to make these changes. Then he spends time giving us examples of movies that have followed these rules. And he doesn’t use obscure foreign films or independent films that we’ve never heard of. He uses examples of movies we are all familiar with. He breaks it all down so that we can see why these writers did what they did and how it helped the story.

It is a known fact that in Hollywood, readers have to read entire scripts (they’re supposed to anyway), but producers and executives are looking for excuses to put your script down. If they can put it down before they finish it, then they don’t have to think about making it. I lived in LA long enough to know that no executive ever gets fired for saying “NO!” They get fired for saying yes. They say yes to a movie and it doesn’t do well at the box office, they’re fired. We all know the story of Verna Fields at Universal rejecting George Lucas’ script for Star Wars. And as the legend goes, she was promoted.

William offers insight in to the way readers, producers, and executives look at screenplays. He helps you avoid mistakes that would make these people put your scripts down without finishing them.

This book is am amazing resource for any writer and to top it all off, it’s funny! Akers has a great sense of humor. In addition to learning, I was laughing. He has an engaging writing style and although he takes his subject seriously, you can tell he doesn’t take himself seriously. He has fun with this book. He also reprints things from the web, certain scripts, and he recounts conversations with other writers and filmmakers. What were they thinking when they were working on something? What were the problems they encountered and how did they over come them?

Ultimately William gets you to think about the writing process, and he makes you take a hard look at anything that you’ve written and see what you could have done to improve it. I have written quite a few screenplays and made a few of them in to films, and I found myself learning new things with ever page turn, or being reminded of things I was taught so many years ago.

Akers wants to help you write something great from your title page to the end. He spends quite a few pages talking about titles, the very first thing people see when they read your screenplay.

“You haven’t spent enough time thinking up a fantastic title!

Is your title a good title or a stupid title? Does it give no hint about your story? Is it a title no one will understand and no one will care about? Is it so weird that it's going to be off-putting? Is it the main character’s name? Is it hard to pronounce or spell?

If you have a less-than-stellar title, change it.”

It is rare that I enjoy a book from cover to cover, let alone a book about writing. I blasted through this book and I’m keeping it next to my computer, the easier to look at when I am writing. I don’t want to give anyone else the opportunity to tell me “Your Screenplay Sucks!”

If you don’t believe me that this is a good book, maybe you’ll believe these people…

"A book about screenwriting that reads like a good screenplay. It is so full of great stories, examples and advice that I couldn't put it down." - - Tom Schulman, Academy Award winning Screenwriter: Dead Poets Society, Honey I Shrunk The Kids, What About Bob?

If you want a pat-you-on-the-back, feel good book on writing, read Chicken Soup For The Writer’s Soul. If you want the sucker-punch-you-in-your-throat, down and dirty truth about screenwriting for Hollywood, read Your Screenplay Sucks!. - - Linda McCullough, Columbia College Chicago

“Don’t take it personal, your screenplay does SUCK. Almost all screenplays suck until you beat them into shape. William M. Akers’s book is an excellent guide through the pitfalls and easy mistakes that first time screenwriters face. His advice is honest and simple. He will make your screenplay suck less... As long as you’re willing to do the work.” - - Larry Karaszewski, writer: Ed Wood, The People vs. Larry Flynt, Man On The Moon

You can order Your Screenplay Sucks! 100 Ways to Make It Great. (ISBN 978-1-932907-45-2) through Akers website, www.yourscreenplaysucks.com.

In my opinion, it’s a great fucking book!

Other stuff.

Internet Special!!!!

Go to www.angryfilmmaker.com and check out my films. Between now and August 1^st, 2008 if you order any 2 of my DVDs I will send you my Sound Work Book for free! If you want to know about the three types of microphones or what the most important element in Sound Design is then you need this book. It is crammed full of tips on Sound for films. Order any 2 DVDs and you get my knowledge and sound tips for free. Two DVDs will set you back $20 + $10 shipping and handling and for that you get the Sound Work Book (a $10 value) for free. Now that’s a deal!

And just a reminder, I am available to consult on your films.

What do you get out of the deal? You get the best value and advice in making your film. No matter what stage you’re in. I’ve been in the business for 25 years, working on everything from animation to live action, Independent features, Real Independent features, Hollywood studio stuff, and documentaries. If you check out my bio and filmography (www.angryfilmmaker.com/who.htm) you’ll see I’ve worked on award winning films, and films that never got distribution.

I will look at your work honestly and objectively. If there are problems, I’ll point them out, in a constructive way. No one wants to hear, “This sucks!” My goal is to guide you through the process, so that you can see what the problems are, and we’ll come up with ways to fix them. Check out (www.angryfilmmaker.com/consulting.htm.)

My Masters Class, Making the Extreme Low Budget Film has been re-scheduled for August 18^th thru September 5^th in Franklin, Indiana. Check out www.independentcinema.net for more information as it becomes available.

Oh and Your Angry Filmmaker tip?

Buy William Akers book, Your Screenplay Sucks! Trust me, it’s worth it.

As always,

Talk later,

Kelley

www.angryfilmmaker.com
www.myspace.com/theangryfilmmaker
www.youtube.com/theangryfilmmaker

Brian Wilson/Classic Film Ignorance/Other stuff

I was going through an old box a couple weeks ago throwing stuff out as I am trying to get rid of my storage space. I came across a program from my first concert, The Beach Boys in 1967. Ouch! That was a long time ago. I just finished watching Brian Wilson on Tour and found it a pretty amazing film. Not as good as Don Was’ documentary, Brian Wilson: I Just Wasn’t Made For These Times (1995). If you want to see an amazing doc that’s one you have to check out.

This guy is so damaged and yet he has created so many amazing songs. You forget how far ahead of everyone he was when it came to song writing and arranging. And you look at him now and you can see he is so heavily medicated and yet his backing band is amazing with all of the arrangements. Check out both movies if you want to see something amazing.

Your Angry Filmmaker Tip.

When I was in Film School, I realized that film was so much more than I thought. It wasn't just a way to tell a story (which is still important); it was a way to truly communicate with an audience. To use film as a way of saying things. To protest, to educate, to enlighten.

- - from The Angry Filmmaker Survival Guide (coming really soon)

When I first went to film school I had modest goals, I just wanted to make Hollywood films, like the ones that I grew up with. When I got there I was thrown in with all of these people who said they were influenced by Godard, Fellini, Bergman and others. Film was considered an art form to these people and they all seemed very serious about what they wanted to do. When I had to get up in front of the class and say that I just wanted to make films to entertain you could’ve heard a pin drop. The faculty and a lot of the other students wrote me off at that moment. I had a few instructors that I couldn’t buy a decent grade from, because I was that guy “who just wanted to entertain”.

It was while I was in school and watching films that were not only assigned but were also being screened for other classes, or on weekends that I truly realized what film was all about. I had a conversion if you will. I realized that I didn’t know shit about film, film history or anything that was important. (Although I still think that Citizen Kane is not only NOT the best movie ever made, but it’s not even Welles best film.)

I felt like I was playing catch up the whole time I was there, and even the first few years I was out of school and working. Growing up I didn’t watch films, I watched movies. \Lots of westerns and war movies with my Father who rarely talked about fighting in WWII. If he did talk it was usually because we had just seen something in a film that he either agreed with or laughed at.

I don’t think the filmmakers of today have any knowledge of the past when it comes to films. They don’t believe that any films were made before 1985 and if any films were made they’re in black and white and boring. I think that’s why most of the mainstream movies are so bad today. Its one thing to know that the people who run the studios also have no knowledge of film history, but the fact that the filmmakers themselves are nothing more than “Commercial Directors” is something that really bothers me.

Directors are lauded for doing things with special effects and not for using film as a means of expression. It’s bad enough that young filmmakers today idolize filmmakers who aren’t very talented, (Yes I’m talking about you Michael Bay). I know that films have always been a business and the moguls would make commercial films to make money so that they can make movies that they felt were important, but when was the last time a film came out of Hollywood that was really important?

I love mindless entertainment as well as the next person, and I will go see Hell Boy 2 just because I thought the first one was a lot of fun. But I am getting sick and tired of being fed junk food by a bunch of people who wouldn’t know a smart and important film if it bit them in the … you know what I’m saying.

If you are serious about making films, then learn your film history. See classic and foreign films and draw inspiration from them. Don’t draw inspiration from bad TV shows you grew up watching, or from toys and computer games.

Give us a reason to go to the theater and not just so you can take our $10 and try to over whelm us with loud noise and special effects. After a while even the hungriest kid gets tired of nothing but Twinkies.

Other stuff.

Internet Special!!!!

Go to www.angryfilmmaker.com and check out The Angry Filmmaker Work Books. They are packed with lots of good info and are a real bargain at a mere $10 each or the set of three for $25 (plus S&H). If you order all three work books, (Pre-Production, Production, and Post-Production) before July 15^th, 2008 I will send you a free DVD copy of Kicking Bird. That’s all three books plus a Kicking Bird DVD for $25 + $9 S&H.

This special has gone so well that I am going to extend it to July 20^th, 2008!!!

And just a reminder, I am available to consult on your films.

What do you get out of the deal? You get the best value and advice in making your film. No matter what stage you’re in. I’ve been in the business for 25 years, working on everything from animation to live action, Independent features, Real Independent features, Hollywood studio stuff, and documentaries. If you check out my bio and filmography (www.angryfilmmaker.com/who.htm) you’ll see I’ve worked on award winning films, and films that never got distribution.

I will look at your work honestly and objectively. If there are problems, I’ll point them out, in a constructive way. No one wants to hear, “This sucks!” My goal is to guide you through the process, so that you can see what the problems are, and we’ll come up with ways to fix them. Check out (www.angryfilmmaker.com/consulting.htm.)

My Masters Class, Making the Extreme Low Budget Film has been re-scheduled for August 18^th thru September 5^th in Franklin, Indiana. Check out www.independentcinema.net for more information as it becomes available.

As always,

Talk later,

Kelley

www.angryfilmmaker.com
www.myspace.com/theangryfilmmaker
www.youtube.com/theangryfilmmaker

Finish What You Start?Other Stuff

Your Angry Filmmaker Tip.

One of the great things I learned in film school is that you always finish what you've started.

- - from The Angry Filmmaker Survival Guide (coming really soon)

I see this all the time. People think it would be cool to make a movie and they tell their friends, maybe they even go out and raise some money. At some point down the road they realize that this isn’t as fun or as easy as they thought it was going to be and they walk away. And that’s fine by me. A lot of people aren’t cut out to do what we do and the sooner they learn that making a film is hard work and they want to do something easier, the better.

We had roughly a 50% drop out rate when I was in film school. Of the 20 people in my section that started about half were gone by the end of the first year. It was a great way to weed out the wannabes.

And my feeling is if you don’t finish your movie and you decide never to do it again, then you are one less person that I have to compete with for money and screen time. Nothing personal, there are limited resources out there and if you’re not serious you’re just wasting people’s time.

The people I really don’t have any respect for, are the people who start a film, realize it’s not very good and don’t finish it. Then they start working on another one. What’s up with that? As I’ve said many times, filmmaking is an art form, it’s a business, and IT’S A CRAFT! The more you do it, them more you learn and hopefully the better you get.

So why should you finish a movie that you don’t think is very good? Because you can learn more about filmmaking from a movie that isn’t very good then you can from one that is perfect. You can learn a lot about your limitations. What are you good at, what are you not so good at? Maybe comedy isn’t your thing? Maybe you can’t communicate with Actors, or maybe your friends who are in it really aren’t very good. Maybe those special effects you tried copying from Hell Boy don’t look anything like you thought they would?

This is one of the reasons why I always tell people to make short films first! Don’t start with features because even a really bad feature is hard to make. And features take a lot of time and resources, both time and money.

If you make a short film and it’s not very good, you don’t HAVE to show it to people. You’re creative, come up with reasons why they can’t see it. But you need to watch it and analyze what went wrong. Why isn’t it good? I believe that you should show it to some people. Get their opinion. Maybe it isn’t as bad as you think, or maybe it just needs more work. You’ve made a 20 minute film that should really be 10 minutes. Maybe if you cut it down you’ll see that it does work better.

Most films are too long; especially the ones made by first and second time directors. Sometimes professional directors make films that are too long as well.

The point I am making here is that it is hard to make a film, but you’ll never know if you’re any good at it until you finish one. Look at it and say, “You know, it’s not very good, but I see where I screwed up.” And then if you really have to make films, make another one. And another one. Hopefully they’ll get better.

Now I know some of you are saying, “Oh yeah, what about your Kay Boyle film?” I have been working on this film for 20 years, but I haven’t stopped because it’s not very good. I am still trying to raise money to finish it. I have well over $100,000 of my own money wrapped up in it and years of my time. I shot the whole thing in 16mm film and had a work print struck. I cut the work print, but apparently funders and others aren’t used to seeing a work print with all its dirt, grease pencil marks and uncorrected images. They want to look at things that are on tape or were at least transferred to tape from the negative. When I started my film, video didn’t look as good as it does now, and shooting analog video was impractical for me. So now I am trying to raise about $10,000 to have all of the negative transferred so I can rebuild the story in tape.

Will I ever finish the Kay Boyle film? (A question I am asked often.)

YES! I always finish what I start. I am limited at this point by my finances, but this too shall pass. Remember I have made and finished over 15 films and countless works for hire since I started the Kay Boyle film. If you want to know more about Kay and are interested in helping me get the funding to finish it drop me a line.

If you want to be a filmmaker, make movies. And finish them! No one really wants to keep helping you if you never finish what you’ve started.

Other stuff.

Internet Special!!!!

Go to www.angryfilmmaker.com and check out The Angry Filmmaker Work Books. They are packed with lots of good info and are a real bargain at a mere $10 each or the set of three for $25 (plus S&H). If you order all three work books, (Pre-Production, Production, and Post-Production) before July 15^th, 2008 I will send you a free DVD copy of Kicking Bird. That’s all three books plus a Kicking Bird DVD for $25 + $9 S&H.

So what are you waiting for?

I am finally on Facebook and I am doing more stuff on LinkedIn. So if you want to be my friend at either place just look for me.

My Masters Class, Making the Extreme Low Budget Film has been re-scheduled for August 18^th thru September 5^th in Franklin, Indiana. Check out www.independentcinema.net for more information as it becomes available.

As always, feel free to link to my site and subscribe to my blog.

Talk later,

Kelley

www.angryfilmmaker.com
www.myspace.com/theangryfilmmaker
www.youtube.com/theangryfilmmaker

Misc Stuff/Fall Tour/Internet Special

Hey Everybody,

All sorts of stuff is going on.

Booking for the Fall Tour is going great! I am booking a lot of new colleges and universities and will be hitting a few film festivals, as well as seeing old friends. So if you want me, now is the time to book me.

My Masters Class, Making the Extreme Low Budget Film has been re-scheduled for August 18^th thru September 5^th in Franklin, Indiana. Check out www.independentcinema.net for more information as it becomes available. I hope to see a lot of you there.

I am finishing up the DVD versions of two of my work shops, Making The Extreme No-Budget Film and Sound Design For Independent Films. They will be available in the next couple of weeks.

I am finally on Facebook and I am doing more stuff on Linkedin. If you want to be my friend at either place just type in my name and I’ll pop up.

Internet Special!!!!

Check out The Angry Filmmaker Work Books (www.angryfilmmaker.com/buy.htm). They are packed with lots of good info and are a real bargain at a mere $10 each, or the set of three for $25 (plus S&H). If you order all three work books, (Pre-Production, Production, and Post-Production) before July 15^th, 2008 I will send you a free DVD copy of Kicking Bird. That’s all three books plus a Kicking Bird DVD for $25 + $9 S&H.

So what are you waiting for?

As always, feel free to link to my site and subscribe to my blog.

Don’t forget to contact me (angryfilminfo@aol.com) if you’re interested in booking me on the Fall Tour, or if you want to chip in for gas. Moses and I will are looking forward to seeing all of our friends again.

Talk later.

Kelley