Angry Filmmaker Rants

Chris Hansen Interview

2010-11-18T10:07:00.000-08:00

Chris Hansen is a filmmaker and a Professor at Baylor University. I have known Chris for years and I am a fan of his work. His films include, The Proper Care And Feeding of an American Messiah, Clean Freak, & Endings.

Chris is currently raising money for his next film, An Affair. Check out this film at http://www.kickstarter.com/projects/1761217552/help-us-make-an-affair-a-feature-film-0 and if you could donate a few bucks Chris would appreciate it.

What’s your background in film/video?
I went to film school at Regent University, and that was my first real exposure to any kind of education or training in film. I majored in English in college, and I recommend that sort of thing to anyone interested in film because I essentially got to study storytelling through the great masters of literature. After film school, where my focus was on directing and screenwriting, I worked at the university for a while, eventually doing educational video projects for professors to use in their classes. It wasn’t the most fulfilling thing, creatively speaking. I had of course been writing all this time as well. Eventually, I went back to school to get my MFA in Script and Screenwriting in large part so I could transition to teaching about film. And that’s what I do now – I teach filmmaking and screenwriting, and I make films.

I love your first feature The Proper Care & Feeding of An American Messiah. In it you deal with religion in a humorous way. How did various communities take the film? Did people realize you were having fun with it?
I was concerned about that initially – I assumed people would be highly offended. But I’ve found that most religious people who see the film tell me that they know people just like the characters in the film. My point is – people tend to see other people in the characters. I am sure some have been offended, judging from comments I’ve read online, etc. But it didn’t cause a big controversy or anything. In some ways, I think it’s occasionally misunderstood. I was poking a bit of fun at the way people misuse religion. I’m a very religious person myself, so I wasn’t trying to make fun of people of true faith. The character in my film is someone who has decided that all religion is about HIM and him personally. He kind of has it completely backwards. But yes, I think most people see it as a “gentle satire” that wouldn’t highly offend most audiences.

Endings is your second feature and very ambitious. Why did you choose such an ambitious film?
I really wanted to expand what I’d tried to do previously. American Messiah was designed to capitalize on our weaknesses – it didn’t take a ton of money, and any flaws could easily be attributed to the mock documentary “style” of the film. But I didn’t want to be limited to that this time around, and I really wanted to make something with some emotional resonance. Comedy is fun – even though it’s hard – but I feel like comedic films often aren’t taken very seriously in the festival world. And these days, if you’re not making an R-rated comedy, people just don’t seem all that interested. The funny thing here is that, when I wrote Endings, I thought I was writing something suitable for a low budget because I only had three main characters, and I wrote with locations in mind that I knew I had access to in the local area. What I didn’t take into account was how many people these three individuals interact with in their separate lives before they come together. And I also didn’t think about the sheer number of locations – accessible or not – that I had written into the story. So some of my ambition was just a lack of planning for how much this would take. It ended up being exhausting for everyone, especially shooting in the heat of a Texas summer.

How is Endings doing?
Given its budget, I think it’s doing pretty well. It’s playing at some good regional film festivals, like Seattle’s True Independent Film Festival, the Atlanta Underground Film Festival, Dallas VideoFest, and Southern Winds Film Festival. I’m hopeful we’ll find someone who wants to make it more widely available.

You used an all student crew and as I understand it your film was part of a class. What was it like using students on your crew and having professional actors?
I always work with students on my films. We offer the film experience as a summer course, and students earn credit while learning what a film set is really like. They often rotate through different positions, with the exception of a few key people that we keep in place for continuity’s sake. And we hire professional actors as well as a professional DP and Sound Recordist/Mixer. Working with students in this capacity – on a professional project – can be challenging, but what you sacrifice in speed and experience, you make up for in enthusiasm. They want to be there, and they’re excited by the process. So, we move a little slower by necessity, but the professionals we hire come onto the project knowing that they’ll do some educating along the way. That’s hardest on the actors, of course, but we work hard to help the students understand how actors work and what they need in order to do their jobs well. And so far, we haven’t had any negative experiences.

What was your biggest budget item on Endings?
The DP and the postproduction sound budget were probably about neck and neck. And those are two areas you really can’t skimp on.

What would you do different next time?
This isn’t really in my control – but I’d love to have the infrastructure behind me to make the behind-the-scenes parts run a little more smoothly. That means a larger budget, of course. And it’s not that things didn’t go well, but when you have no money, the producer has to get really creative. And my producer has been incredible, but I’d like to have a larger budget to work with at some point in the future. On the other hand, I don’t want to sacrifice my autonomy. I make the movies I want to make, and I can do that in part because I’m making them very inexpensively. I just get tired of not having access to really simple locations because we can’t afford to buy them out for the day/night that we’d like to shoot there.

How do you balance teaching, making films and your family, you have four daughters, right? You got a lot going on…
Balance? What’s that? I’m not sure I have it all figured out. I’ve settled into a routine of sorts, where I make a film every few summers, and the next year after we shoot is kind of crazy while we edit the film and do the other postproduction stuff. And the next year after that is crazy in a different way while we take the film out to fests. Somewhere in the midst of that, I try to live a normal life. The truth is, I have a degree of stability that comes with a regular full-time job and a family. And I need that. My job as a professor gives me stability, but it also provides the opportunity to make films – so it’s a double positive. By its nature it’s also more flexible than other jobs, so I can travel to film festivals. So it’s not hard, in my case, to balance the filmmaking side with the film professor side (though it’s a little hard to market and distribute the films myself). What’s harder is making time for my family – but we stay involved in a lot of stuff in the community, so the schedule just dictates that I be there at certain times, and I am. Scheduling things works for me.

You are talking about doing another feature next Summer; will it be as ambitious as Endings?
This one will be much more contained. Fewer speaking parts, one key location and just a few others. I am viewing it as a challenge – can I make this story work with just these few characters and this contained set of locations?

Is there a film that was a huge influence on you? What is it about this film that influenced you?
Martin Scorsese’s work has always been a huge influence on me – I wish I could define precisely why his work has always impacted me. I think it’s the energy and detail he brings to every shot, and the complexity of the stories and the characters. I’m also a huge fan of Coppola’s and Kubrick’s films. And aside from those, the films that made me want to be a filmmaker – that first introduced me to the idea of film as an art form – were the European auteurs of the 50s and 60s: Fellini, Bergman, etc. All of them tell interesting stories in visually stunning ways. Every frame is like a painting. And then they take those frames and make them move.

Where can I buy copies of your films?
The Proper Care & Feeding of an American Messiah is available on Amazon in a special edition with deleted scenes and a making-of documentary: http://www.amazon.com/Proper-Care-Feeding-American-Messiah/dp/B000MX809I/ref=sr_1_2?s=dvd&ie=UTF8&qid=1284044742&sr=1-2

You can also watch it on Hulu, which is ad supported, of course.

Clean Freak is on vimeo in its entirety: http://www.vimeo.com/8427550

And Endings isn’t available anywhere yet because it’s still screening in festivals.

Free Download, Kay Boyle and the Fall Tour

2010-08-05T16:09:00.000-07:00

Free Download, Kay Boyle and the Fall Tour

Hey Everybody I hope things are going well and you’ve all had a great summer.

I just wanted to let you know that FOR A LIMITED TIME you can download a FREE PDF of the first 4 chapters of my Book, The Angry Filmmaker Survival Guide. Go to http://www.angryfilmmaker.com/ and find "Click Here" on the right hand side ABOVE the Book Cover.

Please tell your friends.

If you want to buy a PDF Version of the entire book for a mere $10 then go to http://www.angryfilmmaker.com/cool-crap-to-own/downloads/ and click on the cart BELOW the book description. I don’t know how long I am going to run this special so I would grab it while you can…

Kay Boyle

The Kay Boyle Film fundraising is going great! I am over half way to my goal of $6000. Go to http://www.angryfilmmaker.com/dangerous-kay-boyle/ You can click on Kay Boyle on the menu bar and read more about this amazing woman. Please Donate. Any amount helps.

The Fall Tour

I am hard at work booking the Fall Tour. It starts on September 9th in Washington DC at the DC Shorts Film Festival. I will be posting my itinerary on my website and Face Book as it comes together.

From October 8th to November 9th I will be joined on the tour by Jon Gann and his dog Pilot. Jon is a terrific Filmmaker, the Founder of the DC Film Alliance & the Creator of DC Shorts, an amazing film festival. Jon will be talking about film festival strategies as well as filmmaking, distribution and whatever else comes to mind. To find out more about Jon Gann go to http://www.angryfilmmaker.com/tours-workshops/biography-of-jonathan-gann/ or you can Google him.

Contact me (kbaker@angryfilmmaker.com) and invite Jon, Pilot and I to your college, university, film festival, media art center, or your house for dinner.

I am booking now so don’t delay.

Take care.

Kelley

An Interview with Beth Harrington

2010-07-26T08:20:00.000-07:00

Beth Harrington is a terrific filmmaker and a good friend. I have been a fan of her work since her film, The Blinking Madonna and Other Miracles, her film Welcome To The Club: The Women of Rockabilly is one of my all time favorite documentaries. She is working on a new film, The Winding Stream: The Carters, The Cashes and The Course of Country Music. I am looking forward to it.

We rarely get to see each other anymore but when we do the conversation is always wonderful. Enjoy the interview.

What’s your background in film/video?

I’ve been doing this in one form or another for over 30 years! (How the heck did that happen?) Came from an artsy family, went to college for media (Syracuse University, Newhouse School of Public Communications, TV-Radio sequence), graduated and moved back to Boston – my hometown – and did a few related jobs (PR, audiovisual company scriptwriter) and then went off and joined a touring rock & roll band for a few years, only to realize that I did indeed have some marketable skills as a scriptwriter and producer. So I pursued that from then on mostly as a freelancer. In 1990, I got a job working for a company called The Documentary Guild which in turn worked for WGBH in Boston. So I was an associate producer on shows for Frontline, NOVA, The Health Quarterly and some PBS specials. Then I came to the Upper Left Coast for love and have been working as independent filmmaker since I arrived, but mostly with Oregon Public Broadcasting.

You made Welcome To The Club with some funding from ITVS, and they helped fund your film The Blinking Madonna & Other Miracles. What is it like working with them?

I think very highly of the people at ITVS. They have a tough job administering a funding process that is essentially giving public monies to independent filmmakers. They have to do that very scrupulously and, I think, they catch a lot of flak for how exacting their process is. ITVS is also highly competitive so there are always hundreds of disgruntled filmmakers who are disappointed they didn’t get funded. I’ve been one of them, too.

For a filmmaker applying to them, I would say the bottom line is this – you need to help them (which is to say, the panel of jurors they assemble) choose you. Read their guidelines VERY carefully and answer the questions they ask. Don’t just cut and paste your proposal into a rough approximation of their template and expect it to work. They need to be able to say that your film is one designed for public television AND that your film serves an underserved audience. If they can’t say those two things they can’t fund you, no matter how cool your idea is. They don’t want to hear that you want to make a theatrical film (they’re happy if it has theatrical release but the first commitment is to public TV broadcast) and they don’t want to hear you say it will appeal to everyone (not true, anyway). So, if your film doesn’t fit those criteria, you may want to rethink even submitting to ITVS.

If you do get funding from them, I think you will find the ITVS folks extremely supportive. They want you to be successful. They also are hands-off on the editorial part. They will make suggestions but you are not obligated to follow up on them. You have artistic control of your project. But they will want you to be scrupulous with the funding they gave you and they really like it when you stick to your timeline!

You were nominated for a Grammy (long form music video category). Did that make it easier to get your next film going? Or did it make a difference at all?

It’s hard to say because things like that make ripples we can’t always see. I think people in the music business I’ve been dealing with on my latest film probably see it as a sign of legitimacy, which, of course, is helpful. But my sense that the Grammy nomination was going to open doors for funding was not borne out. Sometimes I think that these kinds of honors give people the opening to say, “Oh, she doesn’t need our help. She’s big time. She’ll get the money from somewhere else.” But maybe down the line, I will see that as an erroneous take, too. Just hard to know from this vantage point.

Tell me about your new film?

It’s called The Winding Stream. The logline is: The Carters, The Cashes and The Course of Country Music. It’s an epic tale about the origins of the form we call country as told through this one family – The Original Carters. It takes their story from the early 1900s all the way to the present generation of family musicians and, of course, along the way talks about legend Johnny Cash and his wife June Carter Cash. It is a history film but it also features studio performances with John Prine, Rosanne Cash, George Jones, Sheryl Crow, Kris Kristofferson and the Nitty Gritty Dirt Band, Murry Hammond of the Old 97s, and others to come (among them the Carolina Chocolate Drops, and hopefully Wanda Jackson and Jack White!) It’s got great interviews and archival footage and will have cool animated graphics and photos, too.

What was the coolest part of making your new film?

The coolest moment so far has been meeting Johnny Cash. Might be the coolest moment in my film career. He was awesome. Intense as you might expect but also kind and genuine and really funny. Looked right through you when he was talking to you.

Beyond that, I’d say it’s just a kick to interview musicians I admire and talk about this great shared reverence for these fantastic roots music progenitors. Joe Ely said, “People should know who the Carters were, just like they should know who the first president of the United States was.” Amen.

What’s next?

Well, I’m trying to see my way past this film, but I’ve still got a long way to go. But having said that, I would like to do a film about a photographer I’m intrigued by, a Japanese immigrant named Frank Matsura. His work was awesome (powerful photos of settlers and folks from various Northwest tribes – intimate, really compelling) and his story of coming to NE Washington in the 1900s is really touching. I feel some affinity for this guy who came to this state and tried to fit in and just started documenting the people and places he encountered. Plus, if I did do this film it would make it so I had to go back to Japan to do research! I just went there for the first time this spring and that country has become a big source of fascination for me.

Is there a film that was a huge influence on you? What is it about this film that influenced you?

Oh gee, I never know what to say for this question. I’m not the encyclopedic film buff sort of person. I have super eclectic tastes and a very bad memory, too. I find things that influence me in almost everything I see. But I guess I’d say I really admire Errol Morris’ body of work and there are things about how he tells stories that really impress me. He’s so oddly evenhanded, even when you know he has a point of view. But it’s not that fake-y “fair and balanced” sort of evenhandedness. It’s something more profound and artistic. And surprising.

Where can I buy copies of your films?

Some of my films are sold through PBS and OPB, some through me. Visit my store on my website and there’s info there about all of them. http://www.bethharrington.com/pages/store.html

The Fall Tour featuring Jon Gann

2010-07-22T13:13:00.000-07:00

The Fall Tour featuring Jon Gann

I am booking my Fall Tour as we speak. Once again I will be teaching my six workshops, The New Model of Independent Filmmaking, Making the Extreme No Budget Film, Now That Your Film Has Been Rejected… Self Distribution, Sound Design on Independent Features, Pre-Production on Extreme Low Budget Features, & Learn Your Craft! Making Short Films.

I am also promoting my book The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film. I am hard at work on the next book and will have it ready for Christmas.

The Tour starts on September 9th in Washington, DC at the DC Shorts Film Festival. From there I will slowly make my way around the country.

Big News…

After my appearance at Script DC Oct 15-17th I will be joined for the last month of the tour by Jon Gann.

Who is Jon Gann?

Jon Gann is the founder of the DC Film Alliance, a non-profit group supporting Washington, DC’s film and video community, and the creator of the DC Shorts Film Festival; now in its seventh year, the event attracts national and international filmmakers, and has become one of the country’s premier short film showcases. As a filmmaker, Jon’s notable past projects include: “Cyberslut,” the first gay-themed short film to screen at over 50 festivals and broadcasts worldwide; “Signs,” a national 48 Hour Film Project award winner, and “Offline,” a modern dating parable.

Jon’s new venture, Reel Plan, consults with filmmakers on the festival circuit. His “festival tips” blog is read by hundreds of filmmakers every week, and through his work, has bridged the communication gap between competing film festivals, so all can share film information, sponsor strategies and filmmaker data.

Jon will be doing workshops on Film Festival Strategies and he and I will also be joining forces discussing Independent Distribution. (Check out http://reelplan.com/, http://www.dcshorts.com/, or just Google him!)

I have known Jon for years and found him to be one of the most knowledgeable filmmakers especially when it comes to questions about film festivals and distribution.

This is going to be fun.

Drop me a note at kbaker@angryfilmmaker.com and let’s see if we can come by your media art center, university, school or film festival.

You will learn a lot and have a great time!

Later.

Kelley

A Conversation with Paul Harrill

2010-07-06T10:35:00.000-07:00

Paul Harrill is an Independent Filmmaker whose film Quick Feet, Soft Hands will be airing on various PBS Stations across the US over the next couple weeks. More about that at the end.

What’s your background in film/video?

I grew up in Knoxville, Tennessee, and there are no professional artists or creative types in my extended family, so deciding to become a filmmaker was maybe a little unusual. Especially because I started making films well before things like DV and Final Cut Pro made it more accessible to everyone.

But people were always telling stories in my family, and I was movie obsessed as a kid, so I guess that's what led me into it.

As far as experience, because I didn't have access to so much as a Super-8 or video camera, I began by writing screenplays on my own. Then, when I went to college, I started making Super-8 films thanks to a loaned camera from a friend. Then I made some videos. And that work got me into Temple University's graduate film school.

Temple attracts great students and has long tradition of supporting independent, alternative work. Plus, it's a lot less expensive than places like USC and NYU. It was a good fit for me.

While I was in film school, I just managed to miss the advent of digital video and Final Cut Pro, which I guess I'm ultimately happy about. I made some movies in 16mm and learned that way of working.

At some point, around the time I started exhibiting my work for the public and around the time that I started getting money for projects, I grew from thinking of myself as someone that wanted to be a filmmaker into someone who was one.

You made Quick Feet, Soft Hands with some funding from ITVS. What it was like working with them?

ITVS funded the bulk of "Quick Feet, Soft Hands." The way I secured the funding was via their Open Call process, which happens a couple of times a year.

The thing that made working with ITVS appealing to me was that they provide major funding for projects but, at the same time, they give filmmakers a lot of creative control.

So I had final cut. They didn't ask to have input on casting. Basically, the things that a commercial production company would probably get involved with -- maybe even meddle with -- ITVS didn't interfere.

They weren't laissez-faire -- they read drafts of the script, watched edits of the movie, and gave notes on both. But they paid for the movie I wanted to make.

So the way you work with them is sort of the way a filmmaker might work with a production company, and it's sort of like getting a grant. Because it's a mix of collaboration and yet retaining creative control. At least, that was my experience.

As far as things other filmmakers could learn from my experience, that's a good question.

First, since applying for funding from them begins much like a grant application process, I'd say all the normal rules of grant writing apply: Read the guidelines carefully, work on the application well in advance of the deadline, write with precision, and proofread, proofread, proofread.

Beyond that, though, for ITVS you need to understand what kind of work they support. I have more than a handful of unproduced scripts, but this was the one that I thought matched with their sensibility. It's not a sports movie; it's about the American experience -- specifically, the attempt to move up from one's economic class. Sports is just the backdrop. So, I was careful about selecting this specific project.

But that's true of any funder -- whether it's a production company or a grant or an investor -- you've gotta understand what they like, what they've already done, and what they're looking for now.

Quick Feet, Soft Hands has been running on PBS, how has it been received? Are you getting any feedback?

The film's been picked up by a number of stations -- which is great. But as far as feedback from audiences, most of that has come from the festival screenings, screenings at universities, and venues like that -- far more so than from the television screenings.
The nature of television is that the audience and filmmaker don't interact they way we do with work that's shown in public screenings or on the internet. For someone that's mostly been accustomed to screening work in cinemas, it's a little weird to know -- "Well, the movie's on TV in San Francisco or Lexington or wherever tonight." The upside, though, is that lots of people have the opportunity to see my work this way.

What was your biggest budget item?

Cumulatively, it was salaries for the cast and crew. This was the first film of mine where people were paid, but it was still a "for love and art" kind of project. No one got rich from working on the film.

If the Tennessee Smokies baseball team hadn't gotten behind the project, I'm sure the biggest budget item would have been art direction and location fees associated with the baseball team. But they got behind the script and basically gave us access to anything we wanted. I was initially nervous that they wouldn't like the story, since it's not really upbeat. But they actually appreciated the fact that it didn't romanticize things. They were like, "Yeah most of these guys are never gonna make it!"

Is there anything you would do different next time?

Oh, sure. There's always stuff -- either from the way it was made, or the finished film -- that I look back on and think, "I'd do that differently now." But that's just the nature of filmmaking. One of the things that I love about filmmaking is that the films I make stand as snapshots of who I was while you were making them.

My next film will likely be made with a smaller crew and probably with a more extended shooting schedule, which I prefer since there's more time for reflection as you work. But shooting "Quick Feet" this way just wasn't possible. We had to work around a real baseball team's schedule, actor schedules, and so on.

Is there a feature in your future?

I suspect so, but I hate talking about projects until they're concrete. I pretty much will tell you anything about a movie I've made, and nothing about a movie I want to make. It drives my friends crazy. Next question?

Is there a film that was a huge influence on you? What is it about this film that influenced you?

I've been asked this before, and it’s tough to name just one film, or even one filmmaker. One film I haven't answered before, but which was important, was “Bicycle Thieves." "Bicycle Thieves" isn't my favorite film by a long shot -- it's not even my favorite Neo-Realist film -- but I do love it. I was 19 years old and I remember seeing that movie, and learning how those movies were made, and I realized, maybe for the first time, that there was not only an alternative to Hollywood, but that tradition had existed for a long time.

That film led me to explore all of cinema, not the narrow range of stuff I had been watching, and, probably most importantly, it let me know that the stories I saw around me in my life, in my world, could be interesting enough.

Where can I buy copies of your films?

www.selfreliantfilm.com/dvd

We just released the DVDs to institutions, so they're not really what individuals will want to pay for them. But eventually we'll sell them for individuals on the website. Ashley and I also sell DVDs of our work at all of the screenings we attend.
"Gina, An Actress, Age 29" is available to view on The Auteurs (now called Mubi): http://mubi.com/films/22436

This just in from Paul himself…

It looks like Quick Feet, Soft Hands is going to be broadcast on over 100 of the "PBS World" affiliate stations around the country on Friday July 9. It'll play a lot of big cities including NYC, LA, Philadelphia, San Francisco, Boston... down to tiny stations in South Dakota, Alaska, and Puerto Rico. A lot of stations are showing it 3 or 4 times that day, including in prime time.

If people want to find out whether it will screen in their area, they search this page by zip code: http://ww.itvs.org/television?film=quick-feet-soft-hands

Alternately, they can check their local PBS World station schedule for airtimes. (A list of all PBS World affiliates can be found here: http://www.rabbitears.info/search.php?request=network_search&network=PBS+World)

Meet Jon Gann of DC Shorts

2010-06-27T20:17:00.001-07:00

Jon Gann is a filmmaker, the founder of the DC Film Alliance and the creator of the DC Shorts Film Festival. He and I talked last week and we hit on a number of subjects.

KB: How did all this come about?

JG: In 2003, I traveled around the globe to support my short "Cyberslut" -- at the time, the most successful gay-themed short film, playing over 50 festivals. After visiting a few dozen festivals over the course of a year, I was disillusioned by the whole festival circuit. It was clear that many festivals were concerned about money and sponsors and patrons and parties, and caring about films and filmmakers — especially those who created short films — was not a priority. One festival, the Ashland Independent Film Festival in little Ashland, Oregon was an amazing exception. If you made your way to the festival, the organizers made sure you were fed, housed and had access to all of the filmmakers and films. It was an eye opener. By the time I made my way back to DC, the seed was planted. I called my dear friend, Gene Cowan, who had previously helped me with motion graphics for a few films, and is a techno-junkie. I told him my idea and he laughed! Then in typical Lucy-and-Ethel fashion, he acquiesced and joined me.

It was around this time that I already created the DC Film Salon and was making headway into DC's previously closed film community. I just figured a festival in with my idea of opening up the industry to as many people as possible. After a few years, with the help of some friends and supporters, I formally formed the non-profit DC Film Alliance as an umbrella organization to manage all of these pet projects.

KB: What can filmmakers get out of DC Shorts that they wouldn’t get at others film festivals?

JG: DC Shorts was designed to be about the filmmaker. From our detailed, yet easy-to-understand rules and entry information, to the bug event in which every visiting filmmaker is fed, housed, and offered entry into every film screening and party. But what I am most proud of is our unique judging process -- and our amazing feedback system. Our judges use a proprietary software program we developed which not only helps us choose films, but at the end of the selection process, is opened up so everyone can see the judges scores and comments. This feedback, if used and understood, can help a film in its path to success.

KB: What is Script DC and how can someone apply?

JG: Washington, DC is a big film town -- probably the third largest in the country. With an industry that large, we have many organizations -- all of which were programming screenwriting conferences. I felt that 5 conferences a year -- all offering the same courses -- was a little much, and very taxing on resources. I worked with these organizations to create ScriptDC -- a single regional screenwriting conference. One weekend, many courses for writers of every level -- and plenty of opportunities to hear scripts read aloud, pitch producers, and network with filmmakers.

KB: You consult on Film Festival Strategies for filmmakers. What does that entail and why is it important?

JG: Every week, I receive calls from young filmmakers who are looking for answers to why their film is not succeeding as they anticipated. For some, it is the film itself. For others, it is their festival strategy. And for many, it is unrealistic expectations of the industry. A few years ago, I started Reel Plan to help independent filmmakers plan the future of their film. Our consultants have many years of experience as award-winning filmmakers, festival judges, script analysts, directors of major film festivals, and successful media strategists. We have traveled the world attending film festivals, screening events and broadcast launches.

In order to determine if a film will benefit from our services, we begin with a written interview, which is followed up by a phone call and a viewing of the movie. From this information, we provide a quick analysis, some simple suggestions for how to start a new strategy, and a determination if your film is a proper fit for the next step.

Of the hundreds of short films we watch every year, only a small percentage of films have the chops to make the festival circuit pay. If we take you on as a client, it means we believe in you and your film. And we are going to do what it takes to help you achieve the success you deserve. While we can’t make any promises or guarantees, we can assure you that our strategies do work for most films.

KB: You screen a lot of movies, what is the biggest mistake you see filmmakers make?

JG: Well, it seems that we fixed the picture issues of the past. Inexpensive HD cameras are everywhere (including your cell phone), so the look of today's shorts is incredible. The biggest faults are: sound design and story.

I still see beautifully filmed projects which sound as though the microphone was a block away. Or music mixes which drown out the dialogue. Audiences will forgive bad picture, often thinking it was an artistic choice. No one can forgive bad sound -- as soon as an audience member thinks, "what did he say?!" you have lost them -- probably for the rest of the film.

Filmmaking is visual storytelling. All films -- even experimental -- rely on a coherent and compelling story. Most film schools are quick to stress the technical aspects of filmmaking -- and often forget about the writing. It shows in their students' work, and it shows on screen. Concentrate on the story, and the rest will come together.

KB: If I want to know about how you can help me, how can I get hold of you? Or can I?

JG: While I try to help every filmmaker who emails, I often need time to concentrate on DC Shorts or other projects I am managing. My consulting practice is online at http://ReelPlan.com -- and there are links there to email me with your questions or comments.

KB: What obstacles did you have to overcome to make the DC Film Alliance work?

JG: I found that other festivals were concerned about how a new event would affect them. Many had been around for a while and invested a great deal to ensure their continued success. I think they were amazed that by adding a new festival, it created more demand to attend other film events.

Since starting the DC Film Salon and DC Shorts Festival and then rolling them into the DC Film Alliance, I have found that organizations are reluctant to share resources for fear of becoming irrelevant or having to use their energy to compete. The truth has been that as the film community has become more open (in part to the digital revolution), organizations are seeing memberships increase, and their role as more influential than before. I honestly believe that if we all played in the same sandbox, we'd all be a lot happier, and maybe relaxed.

KB: Was there a moment when you knew that DC Shorts would work?

JG: The night before the first screening, we sold out the show. Then the phone began to ring with people clamoring for tickets and to be put on the wait list. When I arrived at the theater at 10 AM the next day, there was a line to be included on the list for the 3 PM show. That’s when I finally began to relax.

KB: What did you gain from creating film festival?

JG: My hair went grey faster, and I gained a few pounds. But seriously, I think the experience — and the planning of subsequent festivals has allowed me to put my talents into perspective. I see hundreds of short films every year. I see some awful crap, and a few films of true genius.

I might be a good film director, but I am not a great director. It’s better that I help talented filmmakers to reach for a higher level — linking them with the right people and community. In helping them achieve greatness, I get the satisfaction of making the industry a little better. And the praise is more than enough for me.

KB: I understand that you are going to be touring with me for part of the Fall Tour, are you and Pilot the opening act, or am I?

JG: I think we are both the opening act for Pilot. In my opinion, there are few people in the industry as genuine and honest as you -- which is precisely the reason why you (and I) are sometimes shunned by the so-called "insiders." Filmmakers deserve honest and clear answers to their questions. I think that this is the quality which endears us to audiences -- and why people often come to hear us speak.

My New Film

2010-06-23T08:55:00.001-07:00

is almost 28 years old. And that’s why I need your help.

I started shooting my documentary Dangerous: Kay Boyle in 1986.

This film needs to get finished and that’s why I am posting this.

Kay Boyle was an extraordinary woman. When I met her she was one of the last living American Expatriates from Paris in the 1920’s. She witnessed and wrote about almost every major of the event of the 20th Century. In addition to the eighteen novels, sixty short stories, children’s books, the volumes of poetry and essays she wrote, she still found time to have three husbands and six children. She lived a life that most of us could only dream of and she always went out of her way to help people that were less fortunate than she was.

I got to know Kay in the last few years of her life and she was a vibrant personality. I filmed with her, Studs Terkel, Grace Paley, Jessica Mitford, and many other close friends and family. Her legacy needs to live on and it will in this film.

I need to raise $6000 to have the 25,000 feet of original camera negative transferred to tape so I can edit this movie. I have negotiated a great price with a company specializing in film to tape transfers.

I know times are tough and the economy is in bad shape, but I am hoping you could contribute something. $25, $50, $100 or more. However you can help.

Please go to my website (http://www.angryfilmmaker.com) go to the menu bar, scroll over “Kay Boyle” and learn more about this amazing woman. You will also find PayPal Donate buttons there at the bottom of the pages. It only takes a minute to donate and it would mean a lot to me.

Oh and Harris (my attorney) wants me to tell you that your contribution is not tax deductible. It is considered a gift. And no, you don't own a piece of the movie, but maybe I can get you nice seats at the premiere.

Thanks for reading this I really do appreciate it.

Sincerely,

Kelley

PS If you would rather send a check Please make it out to Square One Productions and put in the memo space that it is for the "Kay Boyle Film" and send it to...

Kelley Baker
PO Box 8322
Portland, OR 97207

Birddog, The IRS and Why I Wrote My Book

2010-06-20T13:55:00.001-07:00

Meet Jon Ashby of Film Rogue.

2010-06-15T13:51:00.000-07:00

Film Rogue is a website dedicated to Independent film and is a favorite of mine, why sometimes I even write for them. I talked to Jon last week.

KB: What’s your background in film/video?

JA: Years back in high school I already had a good idea what I wanted to do, so I took a job with a local post-production facility where I worked for school credit. Basically enslaved myself for educational purposes. From there getting into film school was pretty easy, but after a few years there I found out finding work in the industry was a little tougher, especially in Alberta. So I took a job in news and worked my way up there, cutting ENG and directing our live broadcasts. During that time I shot a few films, a web series, and a news-magazine style show called Rewind which promoted ultra-low-budget filmmaking. It got pretty popular and spawned the website RewindVideo.com and its film festival state-side.

KB: You started a web site called Common Film which became Film Rogue. Why did you start the website in the first place?

JA: Well after about eight years or so Rewind faded into the sunset so to speak, but I still wanted to promote film and support filmmakers in the way I'd done for so many years before. On the other hand, I wanted to step things up quality-wise and see some more developed talent. I came up with the idea of Common Film as a way for producers to share produced material in an open way under creative commons licensing. (Thus the name.) My thinking was that if we shared media and remixed each other's stuff some cool things might come out of the ether. After a year or so though it never really picked up, so I decided to turn my focus to what I've always done best, critiquing film and promoting production and distribution of indie cinema. I revamped the site and renamed it Film Rogue, rebranded the podcasts I produce, and here we are.

KB: Why the name change?

JA: Well I ditched the creative commons experiment, so the name Common Film didn't really fit anymore. I wanted something that spoke more to the independent spirit of the films I was promoting. And not indie as in 'Sony just backed me for 3 mil' indie, I mean REAL indie. Shooting without permits indie. Everyone on deferment indie. I'm not against budgets, but I didn't want to see that studio brand of fake-independent film. I actually polled the membership of Common Film for feedback and ultimately decided on Film Rogue.

KB: What can filmmakers get out of your site?

JA: It's a great way to share and promote released work or work in progress. We have forums specifically for filmmakers where we discuss everything from things we're working on to low-budget film and video technique. It's a tight little group but we welcome any creative spirits like ourselves to drop in and get involved. For producers who have films out, we offer objective reviews from a panel of film critics, as well as interviews on our podcasts. The MicroCinemaScene podcast has a great listenership and we jam with a lot of different filmmakers so it's an excellent way to get word of mouth going. Ultimately it's a great site to seek out exposure for films that might otherwise have a hard time with it. Down the road I plan to launch a new film event that screens the best of the entries we get.

KB: You review a lot of films, how do I go about submitting something to you?

JA: Right from the Film Rogue homepage you can click Submissions at the top. It includes all the info you need. Of course it's really simple - just mail us your DVD screener. A little patience is required; we get a lot of entries. Eventually though we get to everyone and in most cases will arrange for an interview on the show.

KB: What are the advantages to being a member?

JA: Forum access is the biggest one. As we amp up our marketing a bit we'll have some giveaways and promotions that will be available to the membership. Also members can get discounts now and then on things like subscriptions to film magazines, stuff like that. I also offer free ads to members with quality sites and those fundraising for production.

KB: What else do you want to tell me about Film Rogue?

JA: While I've been doing the film site thing for about a decade now, FR is relatively young. I'm not just looking for members, but writing contributors who want to help get the word out about indie cinema. I encourage members to write in about the stuff they've seen and to spread the word, if they caught a really cool film, if they had an interesting experience at a film festival, if they've gone broke trying to finance their film and want to share their mistakes so others can benefit. These are the sorts of articles I'd love to publish. Hopefully we'll get more writers involved as the site grows. We've made a lot of changes recently to make membership fast and easy, so I invite anyone and everyone to stop by and check it out. Just make sure your web browser is up-to-date - it's an intense site!

Go to: http://www.filmrogue.com

Part 2 of the Interview by John Gaspard

2010-06-04T14:08:00.000-07:00

This is part 2 of an interview I did with John Gaspard awhile back for his blog Fast Cheap Movie Thoughts (http://fastcheapmoviethoughts.blogspot.com/)

What's the smartest thing a filmmaker can do before starting their feature? What's the dumbest?

Spend time in pre-production! Too many filmmakers think if you’re not shooting you’re not making a movie. I spend 3 – 4 months easily in pre-production. I try to work everything out long before I start shooting. I rehearse for weeks, just like I’m doing a play. I want all of the actors to know their parts and their characters long before we start shooting.

I only write for locations I know I can get, and I don’t write scenes I know I can’s shoot, (like car chases).

I continue to write throughout this period as well. On Birddog I started pre-production with draft 11 of my script and still made changes throughout the process. On all of my films I don’t even think about shooting until I have done a ton of drafts. I have people I trust read my scripts and get lots of feedback. Your odds of making a good film increase if you have really worked the script over and over. If you have done the work to have a good script the odds get better that you’ll make a good movie. You can still make a bad movie from a good script though, this isn’t a science.

I think you just really need to take your time in pre-pro, don’t rush it. Since I never have any money the better organized I am the more efficiently I work and the smoother my shoots go.

As far as the dumbest, I think that is to hurry up everything so you can start shooting long before you’re ready. And using your credit cards. Using friends who aren’t actors in your films. Your friends aren’t good actors no matter what you think. Get good actors. I think there are lots of dumb things you can do if you don’t take your time.

What's the best advice you ever got about filmmaking?

You need to be a shameless self-promoter and self distribute your work. We always hear those bullshit lines; I make my films by any means necessary! Well why aren't you getting your films out by any means necessary? Why are you sitting on your ass waiting to see if you got in to some film festival? Why aren't you burning DVDs and selling them at screenings? Why aren't you promoting your movie on the internet? You gotta get the word out, and you have to do it yourself. It has to do with getting your films seen. If no one sees your movies how are you going to build an audience? I tour, I teach and I have developed a fan base. One person at a time! Has it been easy? No. It's not supposed to be. At then end of the day all you have is your work and if no one knows about it or you, whose fault is that?

Finally, which current filmmakers (independent or otherwise) inspire you?

I will watch anything that John Sayles does. Same with Jim Jarmusch although I thought that Broken Flowers sucked! I like Danny Boyd’s work, Brian Johnson, Beth Harrington, John deGraff, lots of people that most people have never heard of. Janet McIntyre is a filmmaker to watch, she makes docs.

I watch lots of different types of films so I am inspired by films more than I am filmmakers. I still try and watch lots of docs and foreign films to get a different point of view of the world.

I actually think I am more inspired by writers and musicians than I am by filmmakers. I am inspired by people who don’t give a shit what others think, they push forward and make the things that they want to make. I like things that are passionate in some way or another.

I don’t have a television so I read more than most people and I love to visit museums. That is the way I have always been…

Did I answer the question?

Part One of an interview I did for John Gaspard @ Fast Cheap Movie Thoughts

2010-06-02T09:46:00.000-07:00

This is Part One of an interview I did with John Gaspard awhile back for his blog Fast Cheap Movie Thoughts (http://fastcheapmoviethoughts.blogspot.com/) It's a good site, check it out.

Why are you angry?

I'm angry for a lot of reasons. I'm pissed that good films can't get distributors because they don't have stars. I am angry that all sorts of Hollywood 5 and 10 million dollar pictures are called "independent" when they're not. I'm angry because a lot of doors have been closed to Real Independent Filmmakers and very few filmmakers seem to care. I see filmmakers give their movies to distributors for nothing, no advance. If you don't get an advance you'll probably never see any money!

I see too many people wanting to be filmmakers for the wrong reasons, to make lots of money and to be famous. And filmmakers aren’t working together to help each other. So many independent filmmakers from the 60’s, 70’s and 80’s were going to change the system, and now they are part of it. They are more interested in money and being critical darlings then fighting the system the way they once were. They have been sucked in to the system and most went down without a fight.

What's wrong with independent film today?

The independent film industry is no longer even remotely independent. It's been mainstreamed by
Hollywood and is now simply another over-hyped product. Like commercial radio, pop music and Starbucks coffee, the industry has become a homogenized mess of conglomerates owned by a
handful of extremely powerful corporations. It begs the question: Independent from what?

We need to take the word "Independent" back!

Indie has become a marketing phrase. I have a tough time sitting through a ten million dollar "indie" movie. I want people to recognize that "indie" doesn't mean stars and all of that other
crap. WE are Independent Filmmakers" and WE make movies whether WE have a deal or not. I want to see more theaters and media art centers providing places for us to show our work,
instead of just giving us lip service about how they support independent film. I am fed up with these "independent" film festivals that show all these movies with big names in them.

Real Independent Films are still being made; they just don’t have access to audiences. I always say that independent filmmaking is a live and well, it’s independent distribution that is dead. You have to play by the industry’s rules to get your film seen if you want a decent sized audience.

I opt to do things differently. Like early punk bands we have to find our audiences and cultivate them. That’s why I spend half the year on the road touring and showing my films.

I've told filmmakers forever to never put their films on credit cards. Give me your best argument against that habit.

I’ll use my own experience for this one.

I spent a ton of money on my first feature, Birddog. A lot of people told me they would help me get distribution when I made my first feature. I believed them and I probably shouldn't have. I was the Sound Designer on films like Good Will Hunting, My Own Private Idaho, Far From Heaven and Finding Forrester. I had my "indie street cred" but that didn't seem to matter ultimately. I had a screening for friends in LA and everyone liked the movie, then they told me how hard it was to get a distributor and they all walked away.

No one helped. So I arranged screenings for distributors, I screened in LA, New York, Toronto and London. We also had it at the IFFM. The distributors all said the same thing, "We really like this movie but we can't distribute it because it has no famous stars in it". I told them it was an independent film and they said that was fine, but if you make an "independent" film you still need a big star in it.

Anyway, I ended up owing a ton of money to the IRS... Since all of these people had said they were going to help me find a distributor I took all of the money I should have paid in taxes and used that to fund the film. When it didn't get picked up ... I still owed the money. It took my lawyer and I seven years of dealing with the IRS to finally get everything straightened out. Ultimately I had to sell my home of twenty years and just about everything I owned. It was hell!

I gambled and I lost. I understand that. I listened to certain people that I shouldn't have trusted. Ultimately it was my fault. I made the decisions and I paid the price. I don't want others to go through what I did.

There is no guarantee you will get a distributor, (if you want one), and most people end up paying off their movies working jobs that they hate at 30% interest.

Don’t use credit cards or go way in to debt; if you do you’ll be one of those people.

I'll post Part 2 later in the week. Check back.

My No Budget Filmmaking Class starts soon in Portland

2010-06-01T08:50:00.001-07:00

Don't forget my class on No Budget Filmmaking starts soon. There is still space available.

For more information check out http://www.nwfilm.org/education/classes/core/#90

You know you want to take this class...

Kelley

The AF Talks about Sound Design and ADR

2010-05-14T21:55:00.001-07:00

I will be teaching in Portland, OR again

2010-05-09T13:11:00.000-07:00

EXTREME LOW BUDGET FILM PRODUCTION Course #208

KELLEY BAKER
SATURDAYS & SUNDAYS, JUN 5 & 6, 12 & 13, 19 & 20, 9 AM-6 PM
AND TUESDAYS, WEDNESDAYS, THURSDAYS, JUN 8-10 & 15-17, 6-10 PM

When resources are super tight on a dramatic film, there are right and wrong ways to cut costs. Do it right and you keep the focus on telling the story as effectively and cheaply as possible. Do it wrong and you compromise goodwill with cast and crew, spend money you don’t have, and end up with a movie which simply doesn’t look and sound as good as it could on screen. This intensive crash course takes intermediate and advanced students step by step through the process of producing a short dramatic film, emphasizing the short cuts and tricks at each stage of production which lead to extreme low budget success (tip: light it right and you avoid expensive color correction). Serving as writer/director, the lead instructor will provide hands-on guidance throughout, aided by a visiting director of photography, sound recordist, and other specialists who drop by along the way. Students will serve in at least two crew positions, ranging from camera/lighting/grip to editor and sound designer. Assignments will be made based on student interest and skill, but at instructor discretion. The class will culminate with a sound mix at a local post-production house and a final screening for families and friends. Every student will be credited for their roles and receive the completed film on DVD. The goal is for participants to feel confident in budgeting, scheduling, and producing their own extreme low budget short dramatic film at a later time.

Pre-requisite: Some previous production experience. Knowledge of Final Cut Pro highly recommended.
12 sessions

Tuition: $775 | Equipment/Lab Fee: $230

NON-CREDIT OR 4 PSU CREDITS
PSU Credit Fee: $240 (OPTIONAL)
NW Film Center School of Film

934 SW Salmon St, Portland, Oregon
Mailing: 1219 SW Park Avenue, Portland, Oregon 97205

or call 503-221-1156 for more info.

Interesting Links

2010-04-28T18:42:00.000-07:00

April 28, 2010

I am still on the road and will be home in about 10 days. It’s been a long tour.

Here’s a couple interesting things I found on the net. Check them out.

http://trulyfreefilm.hopeforfilm.com/2010/04/the-power-of-crowds-and-independent-film-video.html

how viral videos can be manufactured using secret strategies: http://ow.ly/1ti5G

A Rebuilding Phase for Independent Film: http://www.nytimes.com/2010/04/26/business/media/26indie.html?hp

I am booking the Fall tour, if you want me to come to your college, university, media art center, or even to your house for dinner drop me a note at angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com). If you haven’t checked out their sites and their services, you better.

Talk later.

Kelley

www.angryfilmmaker.com

Scheduling Actors, Software, & Other Stuff

2010-04-20T08:41:00.000-07:00

April 20, 2010
I am still on tour, it is winding down and I am pretty beat up. I want to thank all of the folks that sent me notes about Moses’ passing. He was a great tour companion and is missed. Your words made me feel better. Thank you.

I just got this link from a friend; check it out it’s sad and funny all at the same time. http://www.theonion.com/articles/sad-sack-purchases-screenwriting-software,17254/

Check out the DC Shorts Film Festival website (http://www.dcshorts.com/ ), it’s a great festival! The deadline is 4/30/10

I have been getting a lot of questions lately about scheduling scenes for actors, here is a reprint from an earlier blog posting for those that missed it.

Your AF Tip of the Day.

If a couple of your characters are going to have a major fight with each other, give them time to get in to rhythm and character on the set before you demand that they emote their brains out.
    - - from The Angry Filmmaker Survival Guide

I am sure most of you know what I mean by this. When you are doing your production schedule during PRE-PRODUCTION, take a hard look at the scenes you want to shoot first. I never put the intense scenes at the beginning of a shoot. I know the actors have rehearsed and know their characters but they haven’t been working on a set together that long yet. And the same thing goes for the crew.

I like to put the intense scenes or any nudity towards the end of the shooting schedule. I want the actors to really have time with each other to really get in to character. I also want my crew working like a well-oiled machine.

Since my shooting schedules are usually only 3 – 4 weeks in length I try to put the really hard scenes in the last week. Sometimes it works; sometimes they go late in the second week. As a filmmaker I am always looking at what is going to be the best for my cast, and for my crew. When I worked as an editor I saw filmmakers schedule really dramatic scenes in that first week, and I can’t tell you how many times those scenes were re-shot. And if they weren’t re-shot I know that most good directors I worked with regretted shooting those scenes early.

Buy my Damn Book!   In addition to my book being $2.00 off (Internet Specials), I have lowered the price on both of my Workshop DVDs (under Cool Crap to Own – Workshop DVDs) by 20% for a limited time.   (www.angryfilmmaker.com)

I am booking the Fall tour, if you want me to come to your college, university, media art center, or even to your house for dinner drop me a note at angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com).    If you haven’t checked out their sites and their services, you better.

Talk later.

Kelley

www.angryfilmmaker.com

In Memory of Mel Sloan

2010-04-05T07:30:00.001-07:00

I recently found out that Mel Sloan, one of my instructors from film school passed away in January. I hadn’t thought about Mel in awhile but the news still took me by surprise. I started thinking about Mel, my time at film school and where I am now. Then it hit me.

Mel Sloan was a huge influence on me and helped to make me the filmmaker I am.

Mel had this way of driving you crazy. He questioned you on everything! I remember one 3 hour meeting when I was getting ready to shoot my graduate project at USC where Mel took the “devil’s advocate” side on every question, even what we were going to have for lunch! My crew and I walked out of the meeting totally beat up. Even though it was barely noon we hit the nearest bar, totally drained and drained a couple glasses.

I ran in to another film student who had Mel the previous year (and had made a great film) and he asked if we had had our three hour meeting with Mel yet? I said yes. He told me from that point on our dealing with Mel were going to be great, and he would go to bat for us at every turn. We were now “Mel’s Boys”. Mel just wanted to see how badly we wanted to make our film. Once we passed his test then we were going to be just fine. Boy was he right!

Mel did go to bat for us (and rumor had it that some faculty members were very unhappy with us over a few things, but those stories will be saved for another day). He supported us and gave us great advice and guidance. We finished the film and at our final session with Mel he told the editor (Harry B Miller) and I that our film was good, but too long. He told us we could lose 5 minutes easily. We disagreed and Mel just said to us, “Watch you film again after 6 – 12 months and then tell me what you think?”

Once again he was right. A fact that I got to tell him when I ran in to him a few years later. He smiled when I told him. Not only did he remember my film, he remembered what needed to come out.

When I got out of school and needed some editing equipment to start my business Mel called a former student and got me what I needed, at a reduced price! The fact that he continued to help even after I left school was huge.

I read where Mel taught at USC for over 50 years. Amazing. I know there were people who didn’t like him, but I don’t think they understood his teaching method. Was he rough on us in the beginning? Absolutely! Did he care about us and our film? Very much. And I think that was what set Mel apart. Whether you agreed with him or not, he truly cared about his students and tried to make them better filmmakers. Mel worked us hard, gave us deadlines and truly prepared us for what it was going to be like outside of school.

I have taken a different route than a lot of my peers. I left LA years ago and make my films up in Oregon. I am also obsessive, stubborn, and am always going against the grain. But I love what I do and I got that from Mel. There are times when I am stuck, broke, and trying to figure out how everything will come together. I sit back and I think about it. I work at it. I figure it out, for better or for worse, and I move forward. That was something else Mel taught me to do.

There were times when I thought about Mel and wondered what he was doing. Knowing Mel, I was sure he was teaching some one, some where, whether it had any thing to do with film or not. That was the kind of person Mel was. Always willing to share his knowledge on any subject to anyone.

I can picture Mel at this very moment trying to explain something to God. Hopefully God is listening to him.

Thank you Mel for all you taught me. I am lucky to have been one of “Mel’s Boys”; your lessons are still very much alive.

Kelley

www.angryfilmmaker.com

Hiring Crew & Other Stuff

2010-04-02T12:24:00.000-07:00

April 2, 2010

I am in Kansas City and the weather is pretty lousy. I have lots of things to do and I am trying to get caught up. I am going to post something I wrote a couple years ago about hiring crew. If you read this before, sorry. If not, enjoy…

I think one thing that a lot of filmmakers should pay more attention to is hiring crew. I know you all spend way too much time thinking about DPs. One mistake I have seen over and over is hiring a DP that really wants to be a Director. And I see that a lot. The problem I see with hiring and working with crew people (and not just DPs), who want to direct is that so many of them are more concerned with your job then theirs. I have had PAs come up to me on the set and ask me why I am doing what I am doing. They’ve said, “That doesn’t look like a very good shot to me.” Who asked you? They were not asked back the following day.

As the Filmmaker you have to wear a lot of hats and make a million decisions an hour. Surround yourself with crew who are there to support your vision. Not a bunch of people who want to do your job.

A buddy of mine had to fire his DP a couple days before the shoot started. It was obvious that the DP thought he was a better Director than the one who hired him. I always say that took guts to fire the guy, especially since the DP had his own gear! (And no, you can’t fire someone and ask to use their equipment - - really bad form.) But you know what, the production was better off losing this DP (who was really talented).   There would have been too many on-set issues if this particular DP had remained.

Remember, a set is not a democracy, there can only be one Boss. I look at myself as a benevolent Dictator, but a Dictator none the less.

Put as much thought in to hiring crew as you do your cast.

And now, your AF Tip of the Day.

You have only one chance to get casting and crew right before you commit to shooting.
    - - from The Angry Filmmaker Survival Guide

Other Stuff…

I am going to be at the Fearless Film Festival in Fort Worth Texas on April 10th & 11th (http://www.mainstreetartsfest.org/Off-MAIN.aspx) showing my short films and talking. If you are in the area drop on by.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com).    If you haven’t checked out their sites and their services, you better.

And the DC Shorts Film Festival website (http://www.dcshorts.com/ ), it’s a great festival!

Talk later.

Kelley

Such a Deal...

2010-03-25T08:01:00.000-07:00

Just a quick reminder…

Save 20% for a limited time on my workshop DVDs. Just follow the link... http://www.angryfilmmaker.com/cool-crap-to-own/workshop-dvds/

Also save $2.00 off my book The Angry Filmmaker Survival Guide. http://www.angryfilmmaker.com/cool-crap-to-own/books/ Just $14.95 + $3 S&H.

What are you waiting for?

Talk later.

Kelley

Links, Books, & Other Stuff

2010-03-24T09:07:00.001-07:00

March 24, 2010

Moses and I are cooling our heels in St Louis right now. Got a few meetings in the area and I’m going to try and get some work done.

I have added more links to “Links & Other Points of Interest” on my Bio menu. Check out the new stuff. If you have a link that you think I should put up on my list send it to me. If you would like to link to my page as well, I would really appreciate it.

I have been re-reading Morrie Warshawski’s book, Shaking The Money Tree and I have forgotten how much good fundraising stuff is in there.

I am also reading Scott Kirsner’s book, Fans, Friends & Followers. I saw Scott speak at SXSW and I was impressed. The book is really good.

I know some people are waiting for me to go off about SXSW since this was my first time there. I had a good time and I couldn’t believe all of the people that were there. It felt more like a tradeshow than a film festival to me, but I never made it over to see any of the films. I sat in on some panels, did my own panel, checked out a lot of the Vendors in the Trade Show area and reconnected with a lot of old friends. I have to say that I picked up a lot of information, but felt like I was one of many. I was gone before the music portion started so I didn’t get to see any of that craziness.

It seemed like you had to stand in line for lots of things and people there seemed to be having a good time. I guess I missed the art. I only saw one of the organizers, Jared (I hope I spelled that right) and he was great. He was sincere in wanting to make sure that Jim and I had no problems with our panel. Next time I am in Austin I’d like to buy him a beer.

We’ll see if I get asked back.

I am still trying to get on All Things Considered and/or Fresh Air. A lot of people have been sending notes to them on my behalf and I have to say that all I get is still the automated responses to my emails. Do you think they even read those things? I am beginning to doubt it, but I am going to keep trying.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com). If you haven’t checked out their sites and their services, you better.

Check out the DC Shorts Film Festival website (http://www.dcshorts.com/ ), it’s a great festival!

Feel free to link to me.

I got work to do, so we’ll talk later.

Kelley

Workshop in Austin, on to Houston

2010-03-16T06:36:00.001-07:00

March 16, 2010

Tonight:
REEL WOMEN / KELLEY BAKER workshop on "The Art of Sound Design" on Tuesday, March 16. 6:00 - 9:00pm. $40 / $25 RW, AFM Members, AFS Filmmaker Level Members (or get membership AND workshop for $55!) The Picture Box Studio, 701 Tillery, Suite A-7, Austin 78709

I did my workshop/panel yesterday at SXSW with Jim LeBrecht and it went great! We got a lot of great questions and no one appeared to walk out. I’d do it again.

I saw some pretty great panels here myself and feel like I learned quite a bit. It was also good to see some old friends and hang out in Austin. I can’t believe how much the Hilton charges for rooms (I’m staying with friends) and worse yet, Beers! This is an expensive festival.

Tomorrow I head to San Antonio for a few days to work on a friends film. Saturday I am in Houston at SWAMP for ….

SOUND DESIGN FOR INDEPENDENT FEATURES
Date: Saturday, March 20, 2010 (10:00am- 2:00pm)
Location: SWAMP Office
Cost: $50 - General Public; $40 - SWAMP Members & Students
Instructor: Kelley "The Angry Filmmaker" Baker

If you’re interested go to www.swamp.org or call 773-522-8595 ext 2 for more details.

Moses is holding up well although stairs are giving him some trouble with his arthritis.

I still have some openings in the Spring tour, if you want Moses and me to come by your college, university, media art center, or even to your house for dinner drop me a note at angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com). If you haven’t checked out their sites and their services, you better.

Check out the DC Shorts Film Festival website (http://www.dcshorts.com/ ), it’s a great festival!

Talk later.

Kelley

Final Post on this site?

2010-03-08T17:24:00.000-08:00

March 8, 2010

Check out the New & Improved web site www.angryfilmmaker.com. I am sure there are still some bugs to be worked out and there are things I want to improve. If you find any dead links or other problems please let me know so I can take care of it. Thanks.

Look around and check out my specials. In addition to my book being $2.00 off (Internet Specials), I have lowered the price on both of my Workshop DVDs (under Cool Crap to Own – Workshop DVDs) by 20% for a limited time. March is a great month to stock up!

I am getting ready to head for SXSW and my workshop down there, “How to Avoid Fixing it in the Mix”. Monday March 15th at 2 pm. I am going to be doing a full blown Sound Design Workshop on Tuesday March 16th for Reel Women. More details to follow on the Reel Women Workshop.

On Saturday March 20th from 10 am to 2 pm I will be in Houston doing my Sound Design Workshop for SWAMP. Call 773-522-8595 ext 2 for more details.

It’s going to be good.

Please come up and talk to me while I am at SXSW. I always like meeting new people.

Check out our Moses Tour Poster. I am still looking for sponsors, imagine how your logo would look on the poster.

I am still booking the Spring tour, if you want Moses and I to come by your college, university, media art center, or even to your house for dinner drop me a note at angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, The Write Brothers (www.screenplay.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and IMD Independent Media Distribution, (www.imdfilmsdvd.com). If you haven’t checked out their sites and their services, you better.

Talk later.

Kelley

www.angryfilmmaker.com

Chicago, Write Brothers, SXSW, NPR and other stuff...

2010-03-03T13:53:00.000-08:00

March 3, 2010

Lots of stuff going on. Last week in Chicago was great. Thanks to everyone at the SEA Conference and at Columbia College and Northwestern for turning out.

I want to welcome the Write Brothers on board as Tour Sponsors for the 2010 Moses Tour. They are the ones who wrote Screenwriter and Dramatica, check out their site at www.screenplay.com.

While you are there follow this link (http://www.screenplay.com/t-AngryFilmmaker.aspx) to read an article about me written by Jay Tormohlen. It’s a nice piece.

I am getting ready to head to SXSW next week where I will be doing a panel with Jim LeBrecht on “How to Avoid Fixing it in the Mix”. Monday March 15th at 2 pm. I am also going to be doing a full blown Sound Design Workshop on Tuesday March 16th for Reel Women. More details to follow on the Reel Women Workshop.

On Saturday March 20th from 10 am to 2 pm I will be in Houston doing my Sound Design Workshop for SWAMP. Call 773-522-8595 ext 2 for more details.

I have a new Tour Poster and I am looking for more sponsors. The poster will be on my site shortly. Check it out.

And speaking of my site, I will be re-launching the new and improved Angry Filmmaker site in the next 10 days. It is looking pretty good and will be much easier to navigate. I’ll let you know when it goes live, I just need to stomp on a few more bugs…

Help me get on to NPR and talk about my book and my tours with Moses. Go to http://help.npr.org/ics/support/default.asp?deptID=5670&task=ticket and send a note to either All Things Considered or Fresh Air and tell them they should do a story about me. I am going to send them a proposal once a week until I get on. Let’s see how long this takes especially since I don’t have some big PR & Marketing firm working with me. Thank you.
Don’t forget, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $15.00 + $3 S&H. You’ll feel better about yourself in the morning.

I have also put my Sound Design Workshop DVD on Special for 20% off! Only $16.00 + S&H. (http://www.angryfilmmaker.com/buy.php)

I think that’s enough…

I am still booking the Spring tour, if you want Moses and I to come by your college, university, media art center, or even to your house for dinner drop me a note at angryfilminfo@aol.com.
Talk later.
Kelley
www.angryfilmmaker.com

My Sound Design Workshop DVD

2010-02-25T05:31:00.000-08:00

Check out my website, I am offering 20% off on my Sound Design Workshop DVD, “It’s The Dialog Stupid”.

“Kelley Baker has a way of taking something that very few filmmakers understand and making it seem not quite as daunting. He focuses on the why of what we're doing with sound in a film, and that's really the most important part of the decision-making process.”

John Howard, Micro Filmmaker Magazine

http://www.angryfilmmaker.com/index.php

You owe it to yourself and to your audience to own a copy.

Thanks.

Kelley

Help me get on to NPR!

2010-02-22T09:22:00.000-08:00

Help me get on to NPR and talk about my book and my tours with Moses.

Go to http://help.npr.org/ics/support/default.asp?deptID=5670&task=ticket
and send a note to either All Things Considered or Fresh Air and tell them they should do a story about me.

I am going to send them a proposal once a week until I get on! Help me make it happen!

Thanks.

Kelley

Chicago, good blogs and other stuff

2010-02-21T08:37:00.000-08:00

February 21, 2010

I am in Chicago and I just finished up speaking at the SEA (Self Employed Artists) Conference. It was great I had standing room only for one of my workshops and the other one was pretty full. A great conference and a great group of people, I am glad they invited me. I look forward to coming back next year.

I will be in Chicago all week doing guest lectures at Columbia and Northwestern. It should be fun.

I am booking for the Spring and still have a few holes in my schedule. Contact me at angryfilminfo@aol.com and let’s see what we can work out.

Here is a sample from my book The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film.

“When I first got into the business, my accountant gave me some very prudent tax advice in November: "tell your clients not to pay you until after the first of the year. Then take out a loan for 90 days and invest in equipment. Then after the first of the year, you can pay off the loans with the money you're owed. Take the tax deduction for the previous year, and you'll be in good shape." It made sense to me and everyone else I talked to
because we all went to art school! I almost went bust because of that advice!

Right after I bought all of that equipment, business dropped off severely. The film business can be seasonal, especially if you are outside of LA. In Portland, it usually dies off around Thanksgiving and doesn't start picking up again until mid- to late February. Sometimes it stays busy through the end of the year, but don't count on it.

A lot of the corporate and commercial people who hire us need to get things done and money spent before the end of their fiscal year. Then they take the holidays off. Why not? They have steady salaries. After the first of the year, they need to put together budgets and plan for the rest of the year. This is a cycle I have seen over and over. There have been exceptions to this, but rarely.

By the time I got paid on what I was owed, I had other debts that accumulated, and guess what, gang? Banks will not loan you money when you need it! They only loan you money when you have money. (Don't get me started here, I hate bankers.)

Anyway, I spent nine months in hell trying to pay my bills, and I had a bunch of equipment that suddenly felt like a burden.

The upshot of all of this is:

DON'T LISTEN TO BULLSHIT MONEY PEOPLE!”

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $13.50 + $3 S&H. (It is still on special) You’ll feel better about yourself in the morning.

Go check out some of my friends blogs, there is some pretty cool stuff in them…

John Gaspard - http://fastcheapmoviethoughts.blogspot.com/
William Akers - http://yourscreenplaysucks.wordpress.com/
Nic Brown - http://bmovieman.com/default.aspx
Jon Ashby - http://www.filmrogue.com/

I’ll add more next time, but if you’re not reading these guys you’re not learning anything.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

Film Slug, (www.filmslug.com) will be up and running soon, but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Thursday February 11th

2010-02-10T09:39:00.001-08:00

This Thursday @ 8 pm Art Beat on Oregon Public Broadcasting will be re-airing the profile they did of me with some updates. Check it out!

Last day to get 20% off my book

2010-02-01T11:57:00.001-08:00

Last day to get my book The Angry Filmmaker Survival Guide at 20% off. Go to my website (angryfilmmaker.com) and order it today.

And thank you.

Only 5 Days Left...

2010-01-28T08:28:00.000-08:00

Only 5 more days to take advantage of my book, The Angry Filmmaker Survival Guide Part One, at 20% off. Go to my website (angryfilmmaker.com) and take advantage of the savings. That's a lot of Knowledge for under $20.

Tips, Books & Other Stuff

2010-01-26T17:33:00.000-08:00

January 26, 2010

Hey Everybody,

My daughter Fiona turns 18 today! Where did the time go? I still see clearly when I would put her up on my shoulders and we would run around the house playing the “duck” game. Happy Birthday Kid! I love you.

I just watched Confessions Of A Superhero, a great documentary about the people who dress up like super heroes on Hollywood Blvd and pose for pictures. I never realized these people were not hired by anyone, they are pan handling! It is great! Watching Batman get arrested is worth the price of admission. Check it out.

I'm going to put up a couple of Angry Filmmaker Tips for all of you.

“Don't give up on your movies. If you believe in it, you will find some one else who believes in it too. It just might take a while.”

“If a couple of your characters (actors) are going to have a major fight with each other, give them time to get in to rhythm and character on the set before you demand that they emote their brains out.”

“I intentionally set my films in the winter in Oregon when the weather is totally predictable. It's gonna rain.”

If you want to know, buy my book The Angry Filmmaker Survival Guide at 20% off now through February 1st. Go to the website.

Check out Morrie Warshawski's website (http://www.warshawski.com/) he has written some great things.

Don't forget to hit http://www.yourscreenplaysucks.com/ William Akers site. His book is great!

Please ask your local libraries to purchase my book.

On most library websites there is a place to suggest books for purchase. Or just send an email. Here is the information they will need:

The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film
ISBN #: 1-4392-3273-3
Author: Kelley Baker
2009

When asked for the publisher direct them to my website: www.angryfilmmaker.com
(The publisher is BookSurge but I make more money if they buy from me...)

Thank you!

I would really appreciate it if people who have purchased my book could go to Amazon.com and write a review. Please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site.

On to other stuff.

Follow me on Twitter (http://twitter.com/thekelleybaker) or become a fan on Facebook, http://www.facebook.com/home.php?#/pages/The-Angryfilmmaker/88965343075?ref=ts

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Get 20% off my Book!

2010-01-21T14:20:00.001-08:00

For a limited time get 20% off my book The Angry Filmmaker Survival Guide!

Go to www.angryfilmmaker.com. Buy it today and I'll even sign it!

Thank you all.

Talk later.

Kelley

Workshop this weekend...

2010-01-20T10:22:00.000-08:00

I am teaching a Marketing and Self-Distribution workshop this weekend in Portland at the NWFC. Check it out at http://www.nwfilm.org/education/classes/workshops/#703.

See you there...

Kelley

www.angryfilmmaker.com

Happy Fucking New Year...

2010-01-19T18:53:00.000-08:00

I actually wrote this on the 29th of December and I'm just getting around to posting it. I have not done any editing on it since I wrote it, I kind of like it raw.

December 29, 2009

Could this be my last blog posting of 2009? Who knows? I just got a wild hair up my ass and have a few things I want to say.

I have been reading all of these year end, decade end, lists and I find a lot of them annoying. I don't really care what the top 5 songs of 2009 are, probably because they're not the songs I'm listening to. And the top 5 movies, TV shows, the decade's best... Who cares? It's someone filling up space for a deadline either in a newspaper or on-line.

I have read a few film folks talking about what they think are the important books, or films, or movements, or people of the last year and it seems like they all have some connection to the people they are recommending. They wrote introductions to their books, gave them quotes, or hung out with them at parties. Basically I don't believe a lot of what the so called independent film people think. They are too busy patting each other on the back and telling each other how fucking great they think they are to really matter in my world. You know my world, the one where we work are asses off every day and make things happen. Then other people discover what we've been doing all along and try to claim it as their own.

I really wish I had time to hang out in New York, LA, or jet to all of these film festivals and hang out and tell you all about the cool things I'm doing, but in reality I am working. I'm making a living and trying to put my kid in school.

You know what, I used to go to various conferences and film festivals and I found out that they're all kind of the same. Most of the people that are at the big ones don't make films. They talk about all of the things they're working on and talk about the films they've seen and who they think is cool and who they have been hanging out with. But they're not making films.

Now I have to admit that I haven't made a film recently either. I've been working on promoting my book and my tours, and I really think I need to make another film soon. (I have been writing and a couple of my friends have read my most recent screenplay and I got great feed back and so I am in the midst of re-writing.) All these years down the road I always come back to the same thing. I don't make movies to hang out and go to festivals. I make movies because I love making movies and I have these stories I need to tell. I get my films out myself because I don't think someone else will do as good a job as I will. My films mean a lot to me. They're like my kids only I don't have to put them through college.

You know, when I used to go to those conferences and the film festivals I never felt comfortable. I'm also the guy who doesn't even like to go to his own premiers. I'd rather be writing or working on something new.

But the business doesn't work that way anymore. We have to go out and promote, let people know what we're doing. I'm very lucky because now I get invited to film festivals and I get to speak at them. I get to try and pass on some of the knowledge I have gained over the years. I don't ever want to lose that feeling of being an outsider at so-called “independent” film festivals. I want people to feel comfortable coming up and talking to me.

I would rather be at a small film festival with people who love movies then go to Sundance or any of those other famous festivals. At smaller festivals I get to meet people who are making movies for the same reasons I do. It's also why I like touring. I get to interact with my audiences a lot, and that's something that these “Independent” filmmakers and producers don't understand. They have set up their own little kingdoms and have forgotten what it's like (if they ever knew) to struggle and put everything they have in to their movies. They're too busy taking credit for other people's ideas and wondering who they're going to hang out with next.

I want to salute all of the real filmmakers out there who don't give a shit what the people in New York or LA think about them or their work. We'll never be featured in the cool magazines or be wined and dined in those towns. We'll just be making out films. And that's much more important.

Have a Happy New Year and I sure as hell hope that 2010 is better than 2009. 2009 sucked!

Take care, talk later.

Kelley

www.angryfilmmaker.com

Links, Books, an Interview & other stuff

2009-12-15T14:24:00.000-08:00

December 15, 2009

Things are getting busy around here. Check out this link at the SEA website. I am going to be in Chicago for the SEA Conference in February and they are already publicizing me.
http://selfemploymentinthearts.com/index.php?option=com_content&view=article&id=106:angry-filmmaker-at-sea&catid=36:columns&Itemid=71

On Thursday evening I am going to be on my friend Marguerite’s radio show. She’s in Memphis and is one hell of a photographer. I will be on around 7:30 CST so hit this link and you can listen in. www.blogtalkradio.com/meggymoon

It’s not too late to order a signed copy of my book in time for Christmas. The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. Don’t all of the little angry filmmakers in you life deserve it.
Whoa Pardner! Don’t forget an Angry Filmmaker T-shirt for Mom!

Angry Filmmaker Tip of the Week.
“If you piss off your crew you'll never really know it until you're back in the editing room. That's when you will see things like the boom, or mic shadows, or that the focus is soft.”

So feed them well and respect them and their time. Things will work out much better for you and your movie if you do.

I am already booking the Spring Tour which kicks off in the dead of winter, but who am I to quibble. It seems like the Spring Tour starts earlier and earlier every year. Luckily I don’t mind winter driving. (Actually I hate it.)

I have been reading the Warren Zevon biography “I’ll Sleep When I’m Dead”. That guy was a really fucked up fellow and the book tells it all. I loved his music but wouldn’t want to hang out with him. Check it out if you can.

And speaking of books, (besides mine) you should all be buying William Akers book Your Screenplay Sucks! 100 Ways to Make It Great. Get it at www.yourscreenplaysucks.com/

And Nic Browns Blood Curse: Werewolf For Hire at http://www.amazon.com/BLOOD-CURSE-Werewolf-Hire-Book/dp/1601455070/ref=sr_1_10?ie=UTF8&s=books&qid=1260915273&sr=8-10

Both good books. And if you’re not going to buy mine then buy theirs. Let’s get people reading books again.

Please ask your local libraries to purchase my book.

On most library websites there is a place to suggest books for purchase. Or just send an email. Here is the information they will need:

The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film
ISBN #: 1-4392-3273-3
Author: Kelley Baker
2009

When asked for the publisher direct them to my website: www.angryfilmmaker.com
(The publisher is BookSurge but I make more money if they buy from me...)

Thank you!

I would really appreciate it if people who have purchased my book could go to Amazon.com and write a review. Please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Follow me on Twitter (http://twitter.com/thekelleybaker) or become a fan on Facebook, http://www.facebook.com/home.php?#/pages/The-Angryfilmmaker/88965343075?ref=ts

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

SXSW, SEA, Marketing Thoughts & Other Stuff

2009-12-06T10:53:00.000-08:00

December 6, 2009

Just got the official confirmation, I will be at SXSW (March 12 – 20) doing a panel with my good buddy Jim LeBrecht of Berkeley Sound Artists. We’ll be talking about audio and ways to avoid fixing it in the mix. Date and Time: TBD. If you’re going to be at SXSW please find us and say hello.

I am also going to be speaking at the SEA Conference in Chicago on February 20th. As long as I am in town … I’ll also be at Columbia College and Northwestern. Let’s see who else we can add to that list.

My friends at Common Film (www.commonfilm.org) are changing their name and re-doing their website. I love these folks and get a lot out of their website. Check them out and I’ll let you know about the name change and the new website when I know more.

I was just on a panel in Portland, the NW Film Financing Conference: Movie Marketing, and I was amazed at how many filmmakers and producers are still naively clinging to the notion that they can raise a million dollars, make a film and get traditional distribution. Many of the people there (and a few panelists) also had no idea or concern that they should be marketing their work. I heard a few people say, I put my films up on the VOD site and am just waiting… SMELL THE COOFFEE PEOPLE!!!!

The old ways of doing things don’t work anymore. You have to promote, promote, promote! I know we’d all like to sit back and just make movies and let someone else deal with the business part, but the reality is you have to be involved and aggressive in all of it! Most distributors won’t even pay advances and I just heard from a couple of friends in the business that Netflix and Blockbuster are buying fewer and fewer films, and hardly any independents.

As filmmakers you have to get off your asses and work just as hard getting your film out there as you do when you made it. It is not getting better, it’s getting worse! The filmmakers who survive and thrive are the ones who do as much as possible themselves and, guard their digital rights, and figure out ways to cross-promote their films. The future of REAL Independent Filmmaking belongs to those who are willing to adapt, and work tirelessly not just making their movies but getting out there to the audiences as well.

Now to the shameless self-promotion…

It’s Christmas time and don’t you think your money would be better spent buying my book or one of my workshop DVDs instead of buying junk from some big company that you’ll use once and never use again? My books and DVDs are great reference sources if you’re really serious about making movies. Check it all out at www.angryfilmmaker.com.

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. I’ll sign the book and get it to you before Christmas, what a great deal!

Whoa Pardner! Don’t forget an Angry Filmmaker T-shirt for Mom!

Please ask your local libraries to purchase my book.

On most library websites there is a place to suggest books for purchase. Or just send an email. Here is the information they will need:

The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film
ISBN #: 1-4392-3273-3
Author: Kelley Baker
2009

When asked for the publisher direct them to my website: www.angryfilmmaker.com
(The publisher is BookSurge but I make more money if they buy from me...)

Thank you!

I would really appreciate it if people who have purchased my book could go to Amazon.com and write a review. Please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Follow me on Twitter (http://twitter.com/thekelleybaker) or become a fan on Facebook, http://www.facebook.com/home.php?#/pages/The-Angryfilmmaker/88965343075?ref=ts

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

DVD Extras, Help, It Might Get Loud & Other Stuff

2009-11-30T15:50:00.000-08:00

November 30, 2009

The Extras are here! The Extras are here!

That’s right all three of my features (Birddog, The Gas Café & Kicking Bird) now have extra features. Directors commentaries, interviews, and all sorts of other stuff. A whole new reason to buy your copies before Christmas. If Ridley Scott can bore the crap out of us with all sorts of new versions of Blade Runner (and it’s not even a very good movie) then I can add extras! Check them out @ http://www.angryfilmmaker.com/buy.php

Transcription Software?

I am hard at work on my second book, The Angry Filmmaker Survival Guide Part Two: Sound Conversations With (Un)Sound People and I am wondering if anyone can help me? I am recording conversations with a lot of friends of mine in the sound world via Skype and I am looking for any kind of software that can transcribe the conversations for me. I am familiar with Dragon’s Naturally Speaking but that doesn’t seem to fit what I need because on all of these recordings there are two of us speaking. Does anyone know of any software that is good for transcribing interviews? Something that doesn’t cost an arm and a leg, (free is a great price…), and could do most of the work for me. I would appreciate any info.

While I was on the road I got to see It Might Get Loud, the documentary on the three guitar players, Jimmy Page, The Edge, and Jack White. I was not a big fan of any of these guys before I saw the film. Well the film is terrific and while I still can’t say I am a big fan of Led Zepplin or U2 I can really appreciate all three of these guys. Three different styles, but three people who love what they do and are pushing their own boundaries. I’m sure it bombed, there were only 3 people in the theater when I saw it, so check it out on DVD. Well worth seeing.

Time to plug my book… I have to do this, I would much rather have you buy this then one of those books by someone who doesn’t make films, or really shitty ones. You know who you are…

More things from the book:

1. The re-writing never stops... even in the editing room you have to re-write.

2. 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.

3. Important Law in the Hollywood Film Business: No one ever gets fired for saying "NO!" They only get fired for saying "yes" and costing the company money.

4. Remember, it's that show of respect that's really important. If your cast and crew don't respect you, and like you, but respect is a bit more important, then they are not going to go that extra mile that is going to make you movie better.

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H.

So buy it already.

Please ask your local libraries to purchase my book.

On most library websites there is a place to suggest books for purchase. Or just send an email. Here is the information they will need:

The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film
ISBN #: 1-4392-3273-3
Author: Kelley Baker
2009

When asked for the publisher direct them to my website: www.angryfilmmaker.com
(The publisher is BookSurge but I make more money if they buy from me...)

Thank you!

I would really appreciate it if people who have purchased my book could go to Amazon.com and write a review. Please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Follow me on Twitter (http://twitter.com/thekelleybaker) or become a fan on Facebook, http://www.facebook.com/home.php?#/pages/The-Angryfilmmaker/88965343075?ref=ts

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

It's good to be home & other stuff

2009-11-23T17:12:00.000-08:00

November 23, 2009

"What kind of software do you use?" is the most frequently asked question and possibly the stupidest one that I've ever heard! Software doesn't write your story, you do. - - from The Angry Filmmaker Survival Guide Part One

That one should pretty much explain itself, shouldn’t it?

Also … Stop watching movies! You can only learn so much from movies. Read books to learn how to tell stories! Visit museums and look at paintings if you want to learn composition and lighting! And Live Life!!! We don’t need anymore lame ass movies about making movies, THEY’VE BEEN DONE TO DEATH! We also don’t need another Spielberg, Lucas, Cameron, Bay or Tarantino. We are still stuck with the originals and their stuff is boring! And no more Young Hot Vampire Shit either! It’s boring.

I have been home for a couple weeks and have been doing some gigs at the local schools here which has been nice. I’ve also been working on a few things on my editing system, you’ll know about those soon enough.

I have been showing up on blogs and podcasts so I haven’t been totally out of the loop.

I just picked up a great quote from a fellow I admire and respect, here it is.

"Read this book and you will not only SURVIVE but you will SUCCEED. One of the best books on making your way through the independent filmmaking jungle with justifiably-angry filmmaker Kelley Baker as your top-notch guide: Funny, profane and committed to telling the unblemished truth. Don't make your next movie until you've read this terrific book."

John Gaspard
Author, "Digital Filmmaking 101," "Fast, Cheap and Under Control," and "Fast, Cheap and Written That Way."

So what else is in my damn book!

1. The Independent Film world is full of liars.

2. Sweetening is what you do to ice tea! We do not put sugar on our audio, ever!

3. Important Law in the Hollywood Film Business: No one ever gets fired for saying "NO!" They only get fired for saying "yes" and costing the company money

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H.

So buy it already.

I would really appreciate it if people who have purchased my book could go to Amazon.com and write a review. Please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

End of the Tour, Blogs & other stuff

2009-11-09T07:45:00.001-08:00

November 9, 2009

I am just finishing up the tour and Moses and I are tired. Sorry I have been slow when it comes to blogging it seems like I always get this way at the end of a 10 week tour, and yes, it has been 10 weeks.

I have been to a few new places this time around and made some new friends. Check out the University of Central Florida’s film program blog (http://ucffilm.blogspot.com/) I spent some great time there and met some great students. Thank you Jon Jones and Lisa Mills!

I also was interviewed by John Gaspard, a filmmaker after my own heart when it comes to No-Budget Films. Check out my interview at http://fastcheapmoviethoughts.blogspot.com/. It is a great blog; you all should visit there often.

I am in San Antonio right now consulting on a couple of films for a friend of mine. Moses and I are also trying to relax a bit before we start the long trek home.

Here is a sample of a few things from my book The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film.

1. "What kind of software do you use?" is the most frequently asked question and possibly the stupidest one that I've ever heard! Software doesn't write your story, you do.

2. If you piss off your crew you'll never really know it until you're back in the editing room. That's when you will see things like the boom, or mic shadows, or that the focus is soft.

3. The worst thing that can happen on a set is that someone gets hurt. Safety is a huge concern. You know what your Mom always said, "it's all fun and games until someone gets their eye poked out.”

4. No one ever thinks about post! Like once you get through production the rest of the film will take care of itself?

5. The studio/distribution people will tell you that you need a star, don't believe them. They're lazy.

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

“Your book should be handed to every kid starting film school or every kid that says "Screw film school, I'm going to make a picture. NOW."

Jim LeBrecht
Berkeley Sound Artists (and all around good guy)

I would really appreciate it if the people who have purchased my book could go to Amazon.com and write a review. I could use a lot more. And please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Tour notes, Blood Curse & other book stuff

2009-10-24T09:04:00.000-07:00

October 24, 2009

The tour is finally winding down… I am tired but feeling pretty good. I am in Pittsburgh on Sunday the 25th for a screening of Birddog and a workshop at the Hollywood Theater in Dormont (a suburb of Pittsburgh) this Sunday October 25th at 2:00 Pm (1449 Potomac Avenue). Stop by if you can.

I just finished Nic Brown's book Blood Curse. It was a terrific page turner about a Werewolf for hire. Great job Nic. Check it out at www.werewolfforhire.com. I really liked this book and ordinarily I don’t read these sorts of things.
The road has been good to Moses and I, we’ve done a lot of gigs, met a lot of people and sold a lot of books.

Here is a sample of a few things from my book The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film.

1. Knowing lots of people is sometimes better than money. When you have no money you need a lot of friends to get your movie done.
2. The best way to show respect to the people who supported you, worked with you, and believed in you is to finish the movie and make it the best movie possible.
3. Writing (and filmmaking) should be about passion! You write a script because you need to. You have to! You need to get this stuff out of your system!
4. The studio/distribution people will tell you that you need a star, don't believe them. They're lazy.
5. There seems to be this myth that if you're not actually shooting, then you are not making your movie.

The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

“You don’t need dear sweet Aunt Bea teaching you how to make movies. It’s a tough business, so you need a tough teacher. Kelley Baker, flamethrower, is what you need.”

William M. Akers
author of Your Screenplay Sucks! 100 Ways To Make It Great
teaches screenwriting and filmmaking at Vanderbilt University
Lifetime Member of the Writers Guild

I would really appreciate it if the people who have purchased my book could go to Amazon.com and write a review. I could use a lot more. And please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Touring, Hackers & Other Stuff

2009-10-09T06:36:00.000-07:00

October 9, 2009

We are still out here! Moses and I are on our way to Dubuque, IA for a weekend of screenings and workshops. I’ll be at the Mind Frame Theaters on October 11th for a screening of Kicking Bird and a workshop, so stop on by.

After Dubuque we’ll be in Toledo, then Bowling Green doing screenings and workshops.

The tour has been going well, but the weather is turning. It has been pouring the last couple of days which is always fun to drive in.

I was on a panel a couple days ago with a filmmaker and the subject of digital downloads came up. This filmmaker had made a low budget zombie movie and had put it up on a well known site for downloading and his film got hacked. Somehow he was able to determine that his film has now been downloaded thousands (and possibly tens of thousands) of times illegally. What does that mean? That means that people are watching his movie for free and he is still trying to pay it off. He self-funded using credit cards (you all know how I feel about this) and so he is working like crazy to pay off what he owes and people are stealing his movie. He did say isn’t it great that so many people are watching my movie, but that isn’t helping me pay my bills.

This is horrible! We are not big famous, wealthy filmmakers here. We are trying to make a living like everyone else through our work and some people are taking advantage of us. Yes, we have all downloaded a song or gotten a copy of software from someone and it is wrong. When I talked to this fellow and really thought about it I see that maybe we think we are sticking it to some big corporation with the copies we make of things, but we are also hurting the little guys, like us.

If there are any hackers reading this do me a favor, I know you are going to do what you do no matter what anyone says, but please take a look at who or what you are hacking and if it is a small independent filmmaker, band, musician or other type of artist, leave us alone. We are just trying to survive here, and truthfully our stuff isn’t that tough to hack. Please pick on someone who can afford it better than we can.

Don’t forget The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

I would really appreciate it if the people who have purchased my book could go to Amazon.com and write a review. I could use a lot more. And please tell your friends about the book, but don’t let them buy it on Amazon, send them to my site. I make more money that way.

On to other stuff.

Even though Moses and I are on the road, I still have a few open dates on the Fall Tour so if you want us to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

The Tour, Casting & Other Stuff

2009-09-29T08:29:00.000-07:00

September 29, 2009

I had a great time at the B Movie Celebration, thanks to all who attended. Now I am headed to Tulsa for the Script2Screen Film Festival this weekend. I am speaking at the Festival twice (Thursday evening and Friday morning) and then doing a workshop at the Nightingale Theater (416 E 4th Street) on Saturday from 11 – 2 pm.

Then I’m flying home for the annual Father/Daughter Dance at Fiona’s high school. It is her senior year, and I haven’t missed a dance yet. This will be fun. I am home for about 30 hours and then back out on the road and off to Southeast Missouri State University.

Let’s talk about Casting for a moment.

How do you find Actors for your films?

I go to see as much theater in town as I can. I love theater, and I love theater actors. In my experience they work real hard and they love what they do. They must, because most of them are never going to get rich working in the theaters. So how come filmmakers don’t go to the theater? At one of the panels I was on at the B Movie Celebration another filmmaker made the comment, “Most of your friends can’t act so don’t put them in your movie!” I have to agree (unless of course your friends are stage actors…). And that’s the point, nothing looks worse than bad acting in a film. The audience will laugh for awhile, and then when it doesn’t get any better, they will leave.

Find the best actors you can and rehearse the hell out of them. And don’t forget to respect them and their craft.

The studio/distribution people will tell you that you need a name. Don't believe them. They're lazy. They don't want to have to work at their jobs. We work our asses off making the movie, why shouldn't they do the same thing promoting it? And these days, to say you have William H. Macy in a movie isn't enough. How many straight-to-DVD movies have you seen on the shelves that have name stars? If there are lots of titles that you have never heard of, just think how many movies these "stars" have done that never got picked up for the straight-to- DVD route. Probably lots.

It's all bullshit! Good actors are more important than stars any day of the week. Remember, stars have to come from somewhere. Maybe your low-budget film will be the launching point for the next Parker Posey? Doubtful, but possible. I still say, stay away from "stars!"

Excerpted from my book, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It’s full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

“This is a killer book. It tells you what your teachers can’t, because they haven’t done it. It tells you what your friends can’t, for the same reason. Jammed with tons of useful advice, Baker’s book is an invaluable “think before you shoot” guide for beginning filmmakers, as well as people who’ve been around the block, but need a refresher course.”

William M. Akers
author of Your Screenplay Sucks! 100 Ways To Make It Great
teaches screenwriting and filmmaking at Vanderbilt University
Lifetime Member of the Writers Guild

On to other stuff.

Even though Moses and I are on the road, I still have open dates on the Fall Tour so if you want us to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

DC Shorts, Mustard & The B Movie Celebration

2009-09-22T08:54:00.000-07:00

September 22, 2009

The tour is going great so far. I had two large crowds for my workshop at the DC Shorts Film Festival, (http://dcshorts.com/) as always Jon Gann throws the best film festival. I met some great filmmakers and saw some old friends. Jon, keep doing what you’re doing and I’ll come back ANYTIME you want me. If you have never been to DC Shorts, you are a fool.

I just finished shooting a 10 minute short with a group of students at the Wisconsin Film School in Madison (http://www.wisconsinfilmschool.org/). It all went really well and the weather cooperated. In fact I am even a bit sunburned. I want to thank all of the students and the professionals involved, you made it al worthwhile project. Now someone else can edit it.

I am on my way to Chicago to see a few friends and then down to Indiana for the B Movie Celebration (http://bmoviecelebration.bside.com/2009/). I’ll be teaching a workshop on Sound Design and hanging out with old friends. If you have never been here before and you love interesting movies, you need to come on down. Bill Dever hosts a great festival.

Don’t forget, my book, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film is full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

"Like any good survivalist, Kelley Baker doesn't beat around the bush - he gets right down to the nitty-gritty heart of the matter right way. His 12 chapter Survival Guide is a compact, no-holds-barred 12-step program to creating what Baker calls "The Extreme No-Budget Film." Baker is on fire about making films. You will be too after reading this brutally honest compilation of personal stories and practical advice from the front lines of independent filmmaking."

Morrie Warshawski
Consultant and Author (Shaking the Money Tree: The Art of Getting Grants and Donations for Film and Video - 3rd Edition)

If you already own the book please go to Amazon (http://www.amazon.com/Angry-Filmmaker-Survival-Guide-Extreme/dp/1439232733/ref=sr_1_1?ie=UTF8&qid=1249153618&sr=8-1) and write a review on my page, I would really appreciate it.

On to other stuff.

Even though Moses and I are on the road, I still have open dates on the Fall Tour so if you want us to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Micro Filmmaker, Sundance, & Other Stuff

2009-09-04T10:00:00.000-07:00

September 4, 2009

Check this out, William Akers has a piece in the new issue of Micro Filmmaker Magazine called, Just 'Cause You Got Financing, Doesn’t Mean You’re Ready To Shoot!
(http://www.microfilmmaker.com/tipstrick/Issue46/ReadySht.html). It’s a great read, check it out.

It has been interesting these last few months watching all sorts of “Corporate Indie” folks talking about the “New Model” of independent filmmaking, you know the one I have been living for years.

-make lower budget stuff
-make it personal and targeted to a VERY SPECIFIC audience
-create a fan base for the film and yourself
-use a mailing list to market and RAISE MONEY for your production
-use your web tools (website, Facebook, etc.) to increase sales/downloads
-guard your digital rights with your life
-the future is online

Anyway, I just saw that Sundance is adding a new section for low and no budget films at the upcoming Sundance Film Festival. I have been writing about this for years. It is good that maybe someone up there is finally seeing the light. Or maybe they realize that they have become irrelevant and they need to go back to their roots. This could be an encouraging step.

You can check out the article in Indiewire (http://www.indiewire.com/article/john_cooper_we_are_looking_for_creativity_born_of_limitations/), but don’t change your plans anytime soon; we’ll see what they really mean by “low & no budget films”.

Don’t forget, my book, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film is full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

“Finally, a film resource that tells it like it is! As a film festival director, I watch hundreds (if not thousands) of films a year — some good, many flawed. I wish I could afford to send copies of "Survival Guide: Part 1" to every director I encounter, to help them identify and correct potential issues before they roll the camera.”

Jon Gann, Director, DC Shorts Film Festival

Thanks Jon. I will be at the DC Shorts Film Festival next week; I am doing two workshops on Friday September 11th. It is a great film festival. I hope to see you all there.

On to other stuff.

I am still booking the Fall Tour so if you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Pre-production, Plan B & other stuff

2009-08-25T09:51:00.000-07:00

August 25, 2009

I am going to be at the Rappahannock Independent Film Festival (http://rifilmfestival.com/) in Fredericksburg, VA this weekend. It’s a great festival, come by and say hello.

“Making a movie is going to take time, lots, patience, even more, and the ability to move mountains -- on a good day.”
- - from The Angry Filmmaker Survival Guide

Why do people think making a movie is so easy? Is it because they watch the director commentaries on their DVDs? Do they watch the “behind the scenes” extras as well? It sure looks fun and easy, doesn’t it?

Well it’s not! And the fact that they put that shit on the DVDs really pisses me off. Anyone who has ever worked on a movie let a lone made their own will tell you it’s hard fuckin work! You plan and plan, you rehearse, nail down locations and then something goes wrong. Now what? You need to have a plan B. That’s what pre-production is for.

Too many filmmakers think if they aren’t on the set they aren’t making a movie. So many films would be better if they would learn how to plan better, and have back up plans for when things do go wrong! Because they will. The smart filmmakers always have a back up location, a different scene, or different props available for when something goes wrong.

When I was doing “real people” commercials I was invariably told by an ad agency person that one of the people I would be interviewing was great! They had spoken to them previously and they were funny and articulate and I could expect great things from them. It rarely happened…

I was shooting some grocery chain spots and interviewing the people who worked there to put together a group of funny, quirky commercials. We get to the Produce Guy who they had been telling me about for days and the dude freezes up! I would ask him questions and he would say “yes”, “no”, or things that were totally unusable. He was scared to death. The agency people are watching this and they are freaking out. What am I going to do?

One of them said we shouldn’t use this guy, they couldn’t figure out what had gone wrong. I was prepared for this. I figured the guy wasn’t everything they told me he was and I had Plan B. I had one of the Grips go get a prop I had put on the grip truck the day before. A Giant Plastic Red Jalapeno Pepper. The thing was about 5 feet tall, I had used it in a Sesame Street Video I had shot once and had it hanging around my studio. I told the guy to hold it (in the middle of the produce section) and say, “A pepper should never be this big.” as seriously as possible. He was nervous but he said the line correctly. The agency folks were laughing and I had the perfect end to one of my commercials. It became an award winning spot.

Always have a back up plan, always be prepared for the worst, and always be ready to change your thinking. In pre-production I always plan for things to go wrong, and I plan a solution. That’s what pre-production is all about.

My book, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film is full of things to help you make your film. So why haven’t you bought it!

Go to my site, (www.angryfilmmaker.com) and buy it for a mere $16.95 + $3 S&H. You’ll feel better about yourself in the morning.

"Never have there been so may instances of the work "Fuck" in a book worth reading."

Jim LeBrecht
Berkeley Sound Artists

On to other stuff.

I am still booking the Fall Tour so if you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Book & DVD signing on Saturday Aug 20th...

2009-08-21T08:35:00.000-07:00

I will be signing books and DVDs at Working Class Acupuncture (4410 SW Beaverton-Hillsdale Hwy Portland, OR 97221) this Saturday (August 22nd) from 10 - 4. Come on by and say hello. There's also going to be free acupuncture...

And for your viewing pleasure here's a film from the vault. You'll Change.

Enjoy your weekend.

Kelley

www.angryfilmmaker.com

Amazon, Murphy works harder than you do & Other Stuff

2009-08-20T10:14:00.000-07:00

August 20, 2009

Can I get a favor here? Please go to Amazon and write a review of my book, The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. I am told it helps sales a lot. It only takes a few minutes.

And if you want to buy the book, buy it from my site, (www.angryfilmmaker.com) for a mere $16.95 + $3 S&H. This Angry Filmmaker appreciates it.

From The AF Survival Guide…

One of the biggest mistakes new filmmakers make is not allowing enough time for preproduction. There seems to be this myth that if you're not actually shooting, then you are not making your movie. I have found over and over, the more time I spend in pre-production, which includes casting, scheduling, and location scouting, the smoother and more efficiently my shoots run. Figure out how long you need for pre-production, then double or triple it!

Remember, it's a big deal making a movie. Treat it like one.

Murphy Works Harder Than You Do

Lay out your schedule on the board, sheets of paper, or whatever. That way you have a place to start. Show it to other "experienced" crew people and get their feedback. Make
changes accordingly. Remember, the shooting schedule is a living, breathing thing. It's going to change while you're working. You're not going to have enough time to finish a
location, something is going to fall through, actors will get sick or have conflicts, you'll lose locations, or whatever. It's going to happen and you have to be ready to shift things around and shoot in a different order than what you might have planned.

Try to have back-up locations you can go to if something changes at the last minute. If you get rain on an exterior and you don't want it, have an interior you can go shoot instead. I love the rain. The crappier and darker the day, the happier I am. It fits my style. In the Northwest, the weather can change dramatically in just a few minutes. You need to be ready for it. I usually get screwed by the weather being nice. I really hate that!

So buy the damn book already! You need it!

“This is a great book, written by an impassioned filmmaker who also happens to be a teacher of the first magnitude. An incredibly rare combination. Profit from your luck at having stumbled on this gem. Do yourself a favor, listen to what Kelley Baker has to say.”

William M. Akers
author of Your Screenplay Sucks! 100 Ways To Make It Great
teaches screenwriting and filmmaking at Vanderbilt University
Lifetime Member of the Writers Guild

On to other stuff.

I am still booking the Fall Tour so if you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

The "New Model" My Book & Other Stuff

2009-08-13T18:04:00.000-07:00

August 13, 2009

I just received this note from a buddy of mine and I wanted to reprint it here. He teaches filmmaking in Chicago.

Kelley,

Man, I'm so sorry about being out of touch, but I have to tell you something:

I attended the Film Financing Conference at the Los Angeles Film Festival in June. It was a series of panels and seminars over two days that had some "indie" people talking. Anyway, the gist of the thing was the "new model" of financing and distributing independent films. And guess what they came up with...that's right...the KELLEY BAKER METHOD!! Now, of course, they didn't call it that, but here's what they're saying:

-make lower budget stuff
-make it personal and targeted to a VERY SPECIFIC audience
-create a fan base for the film and yourself
-use a mailing list to market and RAISE MONEY for your production
-use your web tools (website, Facebook, etc.) to increase sales/downloads
-guard your digital rights with your life
-the future is online

When I took it all in, I couldn't help but smile, because I had been taught this already by a fine gentleman named Kelley Baker.

When I mentioned this to a few of my fellow attendees they all seemed shocked because, wasn't this the FUTURE? How could someone have been doing this ALREADY?

I think the LAFF owes you some royalties. I hope all is well.

Best,
John

John A. Rangel Parkside Films

That’s great! It looks like I have been living in the future. It’s nice to know that I am ahead of the curve.

Yes, I have been doing this for quite a few years and a lot of people have said I was nuts and it wouldn’t work. Well I can’t dispute the nuts part, but it is working and it has been working. That’s why I wrote my book, The Angry Filmmaker Survival Guide Part One. I outline how you should make a feature for very little money, and make it personal. All of my films are personal.

I learned my lesson a long time ago what the so called “Indie Film Industry” wants, and I’m not buying it. I try with my tours, workshops and my book to let people know that there is an alternative and it works. If you want to make a living making films, you can. You just need to make some adjustments to how you work.

The interesting thing for me is that many of these festivals and conferences pay these people to come and talk about the "new model" but they don’t do it themselves. They really haven’t road tested the information. If I were paying to go to one of these panels I would love to have it full of people who were actually doing what they’re talking about. Maybe I am just a dreamer…

If you want to hear me talk about the "new model" of financing and distributing independent films, you know the thing I have been doing for the last 5 years, check back on my web site as I will be posting my Fall tour schedule.

If you want to read about the making good No Budget films check out my book, The Angry Filmmaker Survival Guide Part One Making The Extreme No Budget Film. Which is available on my site, (www.angryfilmmaker.com) for a mere $16.95 + $3 S&H.

On to other things.

I want to thank the following people for being willing to help me up date my website. I think you should go check out their work and if you like what you see, hire them to work with you on your site.

Chris Elliot @ http://www.webdesignrush.com
Tara Krick @ www.rexpost.com
Jim Dougherty @ http://www.3oclockproductions.com, http://www.indiestunts.com/jdougherty/
Johnny 5 @ www.renderedhero.com/ www.myspace.com/discoblaze
Sean @ Cheezy Flicks …

Thank you all for your help.

On to other stuff.

I am putting together the Fall Tour so if you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

Rules for Screen Writing & other stuff

2009-08-04T16:59:00.000-07:00

August 4, 2009

Happy Birthday to my sister, Leslie! I hope it’s a good one.

I know too many people who want to make movies for all the wrong reasons; apparently I’m not the only one who feels this way. I just pulled this off
my buddy William Akers blog (http://yourscreenplaysucks.wordpress.com/) and he stole it from, well you’ll see.

“I share these six items from a talk I give called “Fatal Errors Beginning Writers Make.” Will Aldis (STEALING CARS, KEEP COMING BACK) is a staggeringly talented writer and I love his list.
Number One: trying to write what you think the biz wants you to write.
Number Two: writing for the cash only.
Number Three: writing to get laid.
Number Four: writing a screenplay because you think it sounds like a cool, hip thing to do. It isn’t.
Number Five: writing about something, anything, other than yourself.
Number Six: taking a screenwriting class from someone who doesn’t fully grasp the horror.
Keep Number Six firmly in mind when selecting a teacher, because the very last thing you want is a teacher who gives you any hint that this foolishness is easy.

It isn’t.”

This is what I have been saying for years, what we do isn’t easy, it’s damn hard work. And yet I keep meeting all of these people who think they’re going to write a screenplay or make an independent movie and they’re going to make a bunch of money and everything will be good.

Wake up and smell the coffee! If this shit was so easy there would be a lot of good movies made. The streets of Hollywood and New York are littered with the carcasses of people who think this is easy! If you are gonna make a movie do it for the right reasons: Because you have to. If you don’t make this movie you will explode! Making movies is all you’ve ever wanted to do. You don’t care if you ever sell this because if you don’t find a distributor you’ll take it on the road yourself and show it where ever possible. You think Park City, Utah is a horrible place winter or summer and you never want to see Robert Redford or Paris Hilton in person!

Make the movie for yourself and enjoy the whole process. Don’t make a movie for any of the reasons that William Akers outlines. Like I’ve said in the past, read his blog, (http://yourscreenplaysucks.wordpress.com/) it’s one of the best blogs out there.

If you still want to make a movie, then buy my book, The Angry Filmmaker Survival Guide Part One Making The Extreme No Budget Film. Which is available on my site, (www.angryfilmmaker.com) for a mere $16.95 + $3 S&H. At least you’ll have a better idea of what you’re getting in to and hopefully you won’t make the same mistakes I have.

Here’s another comment about the book.

This book is Kelley Baker’s declaration, on no uncertain terms, to reclaim and specify the definition “Independent Filmmaker”. He pulls no punches calling out both Hollywood and very specific directors for being creatively bankrupt. The author then presents his philosophy on the physical process of filmmaking with tips and advice that could only come from someone who has been there and had scars and debt to prove it. That being said, he does not hold anything back, he tells the whole story, warts and all.

Microfilmmaker Magazine

Remember,

“This business is not for the faint of heart, I don't care how much you think you know.”
from The Angry Filmmaker Survival Guide

And I have been around the block quite a few times so I should know.

On to other stuff.

I am putting together the Fall Tour so if you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Creates (www.zoomcreates.com), and Cheezy Flicks (www.cheezyflicks.com ). If you haven’t checked out their sites and their services, you better.

And I’m welcoming a new Sponsor, Film Slug, (www.filmslug.com) but more about them later…

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Common Film, thank yous, AF Survival Guide, & other stuff

2009-07-27T13:37:00.000-07:00

July 27, 2009

Check out Common Film’s website (www.commonfilm.org). Jon just did a podcast with me about my new book. I actually sound like I know what I’m talking about! It’s also a great site run by a guy who loves films. Thanks for having me on your podcast last night.

I want to thank everyone who responded to my call for a Web Designer in my last blog, I got some fantastic responses! I got to look at some great work that is being done out there. I am going to list them all on my blog next week as a thank you. I’m still trying to figure out a few things but hopefully will be working with someone shortly to upgrade my site. Thanks again, I was a bit overwhelmed by the response.

“Too many people finance their films on credit cards, and they go broke! Their films end up not getting a distributor and they're left paying 30% interest on a film that no one wants.”
From The Angry Filmmaker Survival Guide

Heed the words of noted financial consultant and former NBA player, Charles Barkley, "Credit cards exist to keep poor people poor."

DON'T USE YOUR DAMN CREDIT CARDS FOR ANYTHING!!!

Does that mean I've never funded something with credit cards? I have. And I have lived to regret it. Not the eventual movies, but the financial shape it left me in. I sold my home of twenty years to get the IRS off my back, all because I listened to the wrong people. People who said they would help me. I was gullible because making movies is all I've ever wanted to do.

So please, don't do what I did. The stress isn't worth it.

Figure out how to make your movies without breaking the bank. You’ll thank me later.

Check out my book @ www.angryfilmmaker.com. Hopefully it’ll help you avoid the mistakes that I have made over the years.

Here’s another quote…

“Packed with facts, and laced with humor, this book is more than a road map of independent filmmaking. Unlike many other books about filmmaking, Kelley's doesn't pretend there won't be potholes along the way; instead, it does its best to point them out in advance, so you'll know how to recognize them from a distance and avoid them like the plague. A definite must for any wannabe filmmaker.”

David Fechtor
Former Editor & Foley Supervisor

I just watched Neil Jordan’s, The Butcher Boy. What an unexpected pleasure. I can’t believe I hadn’t seen it before. I am much happier when he makes films in the UK as compared to what he has made here. I still think The Crying Game is one of the best films of the 1990’s. I also loved Michael Collins. The films he makes outside the US seem to be much more personal and definitely more of a challenge to watch. I still like filmmakers that make me work, there is a time and a place to watch mindless entertainment, but I foolishly still think of film as an art form in the right hands.

I will say that Breakfast On Pluto was a tough one to figure out and to stay with, but well worth watching. I hope to see more stuff by Neil Jordan. If you haven’t seen The Butcher Boy, check it out!

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), and Zoom Studio (www.zoomstudio.com), and Cheezy Flicks (wwwcheezyflicks.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Web Designer Wanted, Good Audio & other stuff

2009-07-22T15:37:00.000-07:00

July 22nd

NEWS FLASH (or something like that)

I am looking for a Website Designer! It is time that AngryFilmmaker.com got a make over! I have a new logo and I really want to make some changes and update the site so it will be more fun and hopefully more irreverent!

I HAVE NO MONEY!!!

I do have swag. If you’re willing to help me out I can give you copies of my films, an AF T-shirt and a signed copy of my book.

If there is anyone out there who is interested, and skilled, contact me at angryfilminfo@aol.com.

And now on with the show…

I have recovered from my birthday so it is time to move on. How many of you bought my book for my birthday? Not nearly enough! So what are you waiting for, www.angryfilmmaker.com, it’s right on the home page.

Here’s what David Fechtor a former Editor & Foley Supervisor had to say.

“I'm impressed as hell by the amount of solid, practical advice that Kelley Baker was able to squeeze into his new book. No, it won't write your script for you, teach you how to operate a Steadicam, or find you an agent. What it will do is show you how to get your movie made, and made well--even on a budget that's slimmer than Olive Oyl's waist.

Here is today’s AF Tip.

“A film can look like shit and people will think it's arty. If your dialog sounds like shit, people won't watch your movie.”
From The Angry Filmmaker Survival Guide Part One

How many times do I have to say it! If filmmakers would spend just half the time dealing with sound that they do dealing with camera their movies would look a lot better. You are so worried about what kind of a camera you’re going to shoot with and what your shots are going to look like that you ignore sound all together. And if you are stupid enough to think you can just add the sound later in post you probably shouldn’t even be working in this business.

On all of the major films I have ever worked on we tried to use as much of the location sound as possible. Yes, you can get the words to match the lips if you do your sound in a studio after the fact, but you will never ever match the performance. Actors work much better on the set, working off of another actor and being in character than they do in a sterile studio surrounded by technicians 6 months later. Get some quality microphones (they are much cheaper than your camera) and someone who knows how to use them and you will be surprised how much better your movie will look because it sounds good!

And speaking of sound…

Check out the review of my Sound Design Workshop DVD at http://www.microfilmmaker.com/reviews/Issue43/Sound1.html. While you’re there check out some of the articles. It’s a great site.

Here is a clip from the Sound Design workshop.

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), and Zoom Studio (www.zoomstudio.com), and Cheezy Flicks (wwwcheezyflicks.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

www.angryfilmmaker.com

John Sayles, the library & other stuff...

2009-07-12T13:12:00.000-07:00

July 12, 2009

“If you're a PA, and you're fresh out of school, and this is one of your first gigs, let me give you some advice: the director doesn't give a shit about your opinion!”
From The Angry Filmmaker Survival Guide

It's harsh, but true. When we were making Birddog, there was a PA who asked me why I was doing a particular shot from a particular angle. It didn't really look that good to her. As politely as I could, I told her that her input was not needed, especially since this was her first day on the shoot and we had been shooting for two weeks. I tried to remind her what her role was, what mine was, and she needed to take care of her job, and let me do mine. Then I spoke to the AD and said to keep her the hell away from me! Trust me, you have enough on your mind, and unsolicited input from a young PA isn't what you need.

And speaking of books…

Please ask your local libraries to purchase my book.

On most library websites there is a place to suggest books for purchase. Or just send an email.

Here is the information they will need:
The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film
ISBN #: 1-4392-3273-3
Author: Kelley Baker
2009

When asked for the publisher direct them to my website: www.angryfilmmaker.com
(The publisher is BookSurge but I make more money if they buy from me...)

Thank you!

On Saturday, August 29, 10am I am going to be at the The Rappahannock Independent Film Festival teaching a workshop. If you’re in the area drop on by. Check it out at http://rifilmfestival.com/.

I am in the midst of re-watching some old John Sayles movies (Return of The Secaucus Seven, The Brother From Another Planet, and Matewan), and I am still blown away by his writing. Some of the acting is a little rough, but the stories are so good. I can’t get enough of him. Whether his films are good or not so good, they are always worth watching. I always learn something about story telling from him. Go back and check out some of his older work, most of the films hold up surprisingly well.

Don’t forget to check out the review of my Sound Design Workshop DVD at http://www.microfilmmaker.com/reviews/Issue43/Sound1.html. While you’re there check out some of the articles. It’s a great site.

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), and Zoom Studio (www.zoomstudio.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Rough Cuts & other stuff...

2009-07-07T10:38:00.000-07:00

July 7, 2009

I was talking to a friend who had just gotten some negative feedback on his current film which is still in rough cut. He was feeling a bit depressed, I know, I have been there before. So I thought I would re-print something from my book, my feelings on showing people something that isn’t finished…

Thoughts on showing stuff that you're working on to your friends: A lot of people don't understand what a movie looks like when it's "in process," i.e. not completed. I have seen people show friends sequences from their movies out of context and not even close to finished. This never helps a filmmaker. I know you're excited about your movie and you want to show stuff as soon as you can. If people don't start jumping up and down and say what they've just watched is the greatest thing ever, then you get bummed. What are you thinking, jackass?

Of course they're not jumping up and down. It's not finished, it's out of context and they don't have the vision you have. I don't care how much you think you or your friends know about movies. What many of you learned came through watching the special features and director's commentaries on some DVDs. That doesn't tell you anything. I have watched major movies in rough cut that looked like crap and went on to do great business at the box office. But I knew what work needed to be done to get them ready. Most people don't.

I will NOT look at individual completed scenes from a movie.

They tell me nothing! I would rather look at a really long rough cut of the entire movie, than a couple of scenes that have been cut. To judge a movie, you have to feel its pace, see the whole story. A particular scene could be brilliant! But the scenes around it aren't. I need to see something from start to finish so I can get a feel for the movie and give quality feedback.

I made the mistake, once, of showing a local film critic the first 15 minutes of one of my features while it was still in rough cut. Boy was that stupid! A year later, when I was set to premiere it, he told one of the local art house theater owners that he wasn't going to be reviewing it. He had seen it already and it wasn't very good! He assigned someone else to do it. All he had seen was a 15-minute piece! And there he was telling a theater owner no less it wasn't very good. I wonder who else he told?

I will never, ever make that mistake again. I learned my lesson.

From The Angry Filmmaker Survival Guide Part One. Which is available on my site for a mere $16.95 + $3 S&H. Quite a deal…

“This is a killer book. It tells you what your teachers can’t, because they haven’t done it. It tells you what your friends can’t, for the same reason. Jammed with tons of useful advice, Baker’s book is an invaluable “think before you shoot” guide for beginning filmmakers, as well as people who’ve been around the block, but need a refresher course.”

William M. Akers
Author of Your Screenplay Sucks! 100 Ways To Make It Great
teaches screenwriting and filmmaking at Vanderbilt University
Lifetime Member of the Writers Guild

Also check out the review of my Sound Design Workshop DVD at http://www.microfilmmaker.com/reviews/Issue43/Sound1.html. It’s a good one!

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), and Zoom Studio (www.zoomstudio.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Advice, Blogs & Books

2009-07-03T09:59:00.000-07:00

July 3, 2009

If making a movie is just one of those things you think would be cool to do, then don't do anything. There are already enough posers and bad movies out there.
From The Angry Filmmaker Survival Guide

That should be pretty self explanatory. If you are going to make a movie, do it because you have to make a movie. If you enjoy the process of making the movie, then do it. The odds are your movie won’t make you money or famous. You have to enjoy the ride and if you work hard enough and have a huge amount of luck, maybe you’ll get your investment back.

I encourage you all to read William Akers blog posts (http://yourscreenplaysucks.wordpress.com/). He’s a great writer who understands the business, especially the business of screen writing. He’s also funny as hell. You can buy his book off of his website, (http://yourscreenplaysucks.com/).

I have been re-watching early John Sayles movies and I have forgotten what a great story teller he is. He’s someone people should study. For writing not for editing, sorry John your films are too long, if it weren’t for the great writing you’d lose me.

Don’t forget to check out my book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film. It’s available on my site (www.angryfilmmaker.com) for a mere $16.95 + $3 S&H.

“Kelley's frank, truthful — and realistic — advice is borne from years as an industry insider who chose to turn outsider. Through the creation of his own films, projects he as worked on, and the hundreds of movies he encounters every year at festivals and events, gives Kelley a unique insight into the state of the modern independent film movement. The text might read as angry, but the knowledge is honest and altruistic.”

Jon Gann, Director, DC Shorts Film Festival

Check out the review of my Sound Design Workshop DVD at http://www.microfilmmaker.com. It’s a good one!

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), and Zoom Studio (www.zoomstudio.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

New Book, Reviews and other stuff...

2009-06-25T11:10:00.000-07:00

June 25, 2009

Where have I been? Too much work not enough hours in the day. I am consulting on a few films, booking the Fall tour, promoting my new book, teaching a 3 week workshop, and trying to find time to work on my own stuff. Does anyone out there know anything about cloning? I could use a little help here.

I am thinking about becoming a Republican and running for office. No, I am not in to it to help people I am just in the mood for an affair. They seem to have that market cornered.

I’m going to start posting some tips again on the site from my book and here is the first one…

When it comes to budgeting remember, Everything is Negotiable! Don't pay full price for anything!
- - from The Angry Filmmaker Survival Guide

So here’s the deal, my book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film is finally here. How good is it you ask?

“Finally, a film resource that tells it like it is! As a film festival director, I watch hundreds (if not thousands) of films a year — some good, many flawed. I wish I could afford to send copies of "Survival Guide: Part 1" to every director I encounter, to help them identify and correct potential issues before they roll the camera.”

Jon Gann, Director, DC Shorts Film Festival

Or this…

“YOU'VE REVEALED THE MAGICIAN'S SECRETS! NOW, ANYONE WILL BE ABLE TO MAKE A FILM OR EDIT THE SOUND. DAMN YOU BAKER, DAMN YOU I SAY!”

Jim LeBrecht
Berkeley Sound Artists

Or…

Hurray! This book is Jiminy Cricket on your shoulder, telling you what you need to do. And what you need to do is listen to Kelley Baker and heed his advice. Pinocchio did. Well, in the Disney version he did. In the original Italian, he kills the cricket with a hammer. Don’t do that. Listen to Kelley Baker, and this book will keep you out of more trouble than Jiminy Cricket.

William M. Akers
author of Your Screenplay Sucks! 100 Ways To Make It Great
teaches screenwriting and filmmaking at Vanderbilt University
Lifetime Member of the Writers Guild

So buy the damn thing already!

Also check out the review of my Sound Design Workshop DVD at http://www.microfilmmaker.com.

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com). If you haven’t checked out their sites and their services, you better.

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

The Angry Filmmaker Survival Guide is Finally Ready!!!

2009-05-13T17:34:00.000-07:00

Well, almost…

I just finished the final rounds of proofs and it looks great. I am told it will officially be available very soon. Is it any good? Listen to these people…

“When it comes to independent filmmaking Kelley Baker is the real thing. His experience, observations and practical advice reveals the raw truth about an important art form that has been hijacked, over-romanticized and betrayed by everyone from the mainstream media to its very own champions. This book is about real filmmaking.”
Brian Johnson
Author, Screenwriter, and Director

We are taking orders for the book now ($16.95 + $3 S&H) and it will be shipped when it becomes available. For those of you who Pre-Order your copies, you will receive a signed copy when the book ships. (www.angryfilmmaker.com)

"Like any good survivalist, Kelley Baker doesn't beat around the bush … His 12 chapter Survival Guide is a compact, no-holds-barred 12-step program to creating what Baker calls "The Extreme No-Budget Film." Baker is on fire about making films. You will be too after reading this brutally honest compilation of personal stories and practical advice from the front lines of independent filmmaking."
Morrie Warshawski
Consultant and Author (Shaking the Money Tree: The Art of Getting Grants and Donations for Film and Video - 3rd Edition)

Excerpt

I am the poster boy for bad decision making in the Independent Film world!

I have made eight short films, three features and a couple of documentaries, along with a ton of corporate videos, and commercials. I have whored myself on other people's movies for the last 20+ years. There are certain truths I have learned, and certain things and people I shouldn't have listened to. I have messed up my life financially, emotionally, and probably physically and it's all been for my love of movies. My movies.

"Angry or not, Kelley Baker knows his stuff, and he tells it all in this book that's part indie film war story, part instructional manual for true independents, and part furious rant. It's always entertaining, and it might just tick you off, but – most important – the advice contained within these pages will help you get your film made…
Chris Hansen
Writer and Director “The Proper Care and Feeding of an American Messiah.”

Excerpt

Too many people finance their films on credit cards, and they go broke! Their films end up not getting a distributor and they're left paying 30% interest on a film that no one wants. Heed the words of noted financial consultant and former NBA player, Charles Barkley, "Credit cards exist to keep poor people poor."

DON'T USE YOUR DAMN CREDIT CARDS FOR ANYTHING!!!

Does that mean I've never funded something with credit cards? Yes! And I have lived to regret it.

"Kelley Baker is the genuine article, a skilled craftsman and a passionate artist who is committed to sharing his love of true and independent film to whoever is lucky enough to cross his path, he is to be listened to"
Bill Dever
Indie Producer, Founder of The Indy Film Co-op and fan of Kelley's
Dog Moses

So go to my website (www.angryfilmmaker.com )
and Pre-Order your signed copy today.
$16.95 + $3 S&H

Whoa Pardner, don’t forget to buy a T-Shirt for Mom!

Hi, Remember me! And Thoughts on Sound

2009-05-04T20:24:00.000-07:00

May 5, 2009

I am off the road for awhile. Moses and I returned home a few days ago. It was a long 10 weeks. I’m almost caught up on my sleep (not really) and I’m back in front of the computer. I do apologize to those of you who regularly read the blog, sometimes it gets really hard to post from the road consistently. I do my best, but there are times when I am just too tired. At that point I am just working towards survival. Every time I hit the road I tell myself I’ll be better at posting… maybe next Fall.

A special Thank You to Bill Dever and the Indy Film Co-op. Bill worked with me on a lot of new venues and he and his family always had their home open for Moses and I. Thank you. (Next time I’ll bring more wine.)

A buddy of mine just sent me this link that I thought you would get a kick out of. I don’t know how old this is, but enjoy…

http://www.boingboing.net/2009/04/22/ranting-lemonade-lab.html

And you think I’m Angry!

The BIG news is I finally saw a proof of my book, The Angry Filmmaker’s Survival Guide from the publisher and it looks great! We have a couple small things to correct and I am hoping to have it up on the site available for purchase within the next couple weeks. It has been a long time coming. This has been a bigger ordeal than making any of my films. Go figure. Anyway, it will be available shortly. Stay tuned.

Once again one of the things I have learned on this tour is how little most filmmakers and film students know about sound. I can’t figure this out, sound is really not that difficult and yet it’s the thing that separates amateur films from professionals. Too many people don’t think about sound at all and if they do they feel like they’ll go out and shoot and deal with it later. You don’t go out and shoot with a bad camera, why are you going out and shooting with bad sound equipment, or none at all!

Check out my work book, 58 Things You Had Better Know About Sound Before Making Your First Feature. It’s The Dialog Stupid!

This is a companion to my other work books on independent filmmaking. It is available on my website, www.angryfilmmaker.com/buy.htm.

What good is it you ask? Well, it tells you about the 3 different types of microphones, (ribbon, dynamic, and condenser) and the 3 basic microphone pick up patterns. It gives you helpful hints about sound design, and tells you that I will threaten you with physical violence if I ever hear you utter the word “sweetening” when you really mean MIX! (Sweeten is what you do to ice tea, not audio tracks!)

Other things in the book include:

8.) There are three basic microphone pickup patterns, omnidirectional, cardioid, and hypercardioid. Omnidirectional is a microphone that picks up everything in all directions. A cardioid microphone picks up in a single direction, like a lavalier, or a wireless mic. A hypercardioid is a “shotgun” mic. It picks up everything in a cone-area of about 50 degrees in front of it.

30.) If you hire a good location recordist, you won't need ADR. You don't want to use ADR. ADR is not, and will never be, as good as the original audio take! The sound quality won't be quite right. The performance will be close but not as good. There are all sorts of new software programs that can match the words to the lips, but just matching the words to the lips is not what's important. It's the feeling of the entire scene.

47.) There is a trend, not to clear music for your movie if you're going to send it to film festivals to find a distributor. Then WHEN it's picked up for distribution, you get the distributor to pay for the music rights. If anything, WHEN should read IF, because the odds are, it's not going to happen. A lot of distributors won't pick up a film if the music rights aren't cleared.

You can pick this work book up for a mere $10 plus $4 S&H. How much are you spending on a camera?

Be the first one on your block to own it. 58 Things You Had Better Know About Sound Before Making Your First Feature. It’s The Dialog Stupid!

There is a rumor that all of my work books should be ready for downloading soon.

Until then you can still buy the hard copies on my site.

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner this summer or Fall send me a note, angryfilminfo@aol.com.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), and The Indy Film Co-op (www.indyfilmco-op.org). If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

ABC TV, Wife Swap, The Searchers, John Ford and more!

2009-03-31T10:03:00.000-07:00

March 31, 2009

I am still on the road (6 weeks). The last few weeks have been great! A lot of new places on the tour (Thanks to Bill Dever, The Indy Film Co-op, The Strand Theater, and Nova Cinemas), a lot of new faces, and a lot of old friends. Moses and I have 3 more weeks before we head home. I just hope the weather holds for us.

You’re not going to believe this… I just got this in my email.

WIFE SWAP, ABC'S HIT PRIMETIME SHOW, SEEKS SUPERSTAR FAMILIES OF INDEPENDENT FILMMAKERS!

The premise of Wife Swap is that one parent from each household swaps places for a week to experience how another family lives. It is an incredible family experience and opportunity to both learn and teach different family values.

Wife Swap is a fascinating story of what happens when two couples see themselves and their partners in a whole new light. The New York Post says, "It should be called 'Life Swap' because it's not just the wives who learn something here. It's the families."

Potential families can live anywhere in the United States, but we ask that families applying for the show consist of two parents and have at least one child, age 7 or older, living at home. Specifically, I'm looking for families of independent film makers! If you, along with your family, are hustling in the independent film scene, then I want to talk to you!

I think I’ll pass on this. Isn’t the life of an independent filmmaker tough enough? I saw an episode of this show once and thought it was so horribly contrived I would be embarrassed to make something like this, let alone be on it.

I have a great idea; let’s do a show called Producer Swap. Let these rich, spoiled TV Producers switch places with a Real Independent Filmmaker and see how they fare in our world! We wouldn’t have to contrive anything. But you know what? I know what their lives are like, and I wouldn’t trade places with them for anything.

On to other things…

I just had a chance to see The Searchers (John Ford) on the big screen last week at the newly renovated Strand Theater in Shelbyville, IN. (Great job on the renovations guys!). I had forgotten how good that movie is. Bill (Dever) told me that as I was watching it I tuned everything else out. (Sorry about eating all the popcorn…)

Too many filmmakers and film students don’t take the time to watch movies made before 1980 and that is a shame. There is so much in The Searchers and so many of the classic films. Why aren’t people interested in past cinema? Too many filmmakers get in to the business to make money and be “successful”, not enough people get in to film to make films that actually mean something.

Bill and I were discussing westerns on the drive home, John Ford, Howard Hawks, Sergio Leone and many other directors who did westerns (but not just westerns). We talked about the changing image of the western from the 1950’s in to the 1960’s and 70’s. The rich traditions the early directors maintained in the beginning and how that changed later. Even John Ford’s westerns changed as he got older. John Wayne is psychotic in his obsession to find “Debbie” and once he finds her he wants to kill her because she is “no longer white”. It is an amazing performance by John Wayne as an outsider, a man who will never be allowed to come in to civilized society.

The westerns that were made in the 60’s and 70’s were truly revisionist. Check out films like, The Left Handed Gun, The Wild Bunch, The Searchers, Once Upon A Time In The West, McCabe and Mrs. Miller and others. These are amazing films, whether you like them or not.

Learn film history, learn the rules of filmmaking, then you can break them. Remember, many of the filmmakers who made the classic films didn’t sit around watching other people’s movies. They lived life and put their imprint on their work. It sure would be nice if the new generation of filmmakers would realize that there is a lot to learn from the classic films, and filmmaking is so much more than making money and being famous. I wish some of these people would get off their butts and live life. Then make movies. Give me a reason to go back in to a theater again. Show me something that has thought behind it. Take a chance and try to say something with your movie.

It’s all about the work!

I’ll get off my soapbox now.

On to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note, angryfilminfo@aol.com.

There is a rumor that my work books should be ready for downloading soon.

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Tour news, Advertising & other stuff

2009-03-13T08:47:00.001-07:00

March 13, 2009

Hey Everybody,

Check out this interview with me in the Des Moines Register.

http://www.desmoinesregister.com/arts

And this one in the Moline Dispatch.

http://www.qconline.com/archives/qco/display.php?id=429597

I am going to be in Des Moines, Iowa, on Friday March 13th from 7-10 at the Nova 10 Cinemas, (4353 Merle Hay Road, Des Moines, Iowa 50310) and in Moline, IL on Sunday March 15th at the Nova 6 Cinemas from 1 – 4 pm (2018 36th Avenue Moline, Illinois).

I will be showing some of my films, films that I have worked on and I’ll be talking about Making the Extreme No Budget Film. I know this is short notice, but if you can pass this along to any of you friends or organizations you know of in the area I would really appreciate it. The workshop cost is a mere $10.

Making the Extreme No Budget Film - - In 2000 Kelley Baker and Bruce Lacey set out to make a full length feature film for the sum of $1000. They failed miserably. Their budget ballooned up to $4000, (they forgot they had to feed cast and crew), but when the dust finally settled they had completed THE GAS CAFE, a 90 minute DV feature. Along the way they set up a website, shot behind the scenes footage (for a documentary), and made the movie that they wanted to. What's wrong with these guys? In 2002 Kelley sent 100 letters to 100 Friends asking for $100 to fund Kicking Bird. He raised $5000 and shot for 18 days. Kelley is currently touring the country with Kicking Bird. In this workshop Kelley will walk participants through the entire process from scripting through post production. How to get the most for very limited resources, asking the right questions to get free stuff, and working in an atmosphere where people share your vision!

If anyone wants more information about me please direct them to my web site, www.angryfilmmaker.com.

I am hoping for a good turn out.

I just saw the film Waltz With Bashir, and if you haven’t seen it check it out. It is an animated documentary and I have to say it blew my mind! It is an amazing film and is still playing theatrically in some markets. I don’t want to give anything away, just go see it.

I have been approached about putting advertisements up on my website and I must say I am really torn. There are none at this point and I have turned down ads in the past. I have spent all these years moving away from the main stream and to put advertising up on the site just seems wrong. Although I could certainly use the money.

What do you all think? Let me know. angryfilminfo@aol.com

And now on to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note, angryfilminfo@aol.com.

There is a rumor that my work books should be ready for downloading soon, and there are going to be new Angry Filmmaker T-shirts available. These will piss off anyone, thanks to Jeff Pollard. I’ll let you know when they’re ready.

Please check out my internet specials, hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

MicroFilmmaker Magazine, Distribution and Road stuff

2009-03-01T15:18:00.000-08:00

March 1, 2009

I have been interviewed in Micro Filmmaker Magazine and they put it in the new issue. Check out the interview online at, http://www.microfilmmaker.com/tipstrick/Issue40/IntKB_1.html. While you’re there check out some of the other articles. It’s a great magazine as far as I’m concerned.

Moses and I are on the road, we were just in St Louis at Webster University and I did a workshop at the MOMMA meeting in Columbia, MO and got to see some old friends and hang out at True/False, one of my favorite film festivals. No it’s off to Baylor University and then UT Arlington and SMU before heading back to the Kansas City area.

I have been talking a lot to filmmakers about self-distribution and I am amazed that so many filmmakers are unaware how to read a contract, or what questions to ask if a distributor is interested in your movie. I am going to reprint part of a blog I wrote last year detailing a conversation I had with an online distributor.

If you read this before, you should probably read it again to remind yourself that you might not necessarily sign with some distributors.

Here it is again…

I was talking recently with an on-line distributor; they were inquiring about my films and were they available. They wanted a non-exclusive contract (which is the only deal I will ever do), for internet distribution they would be marketing just DVDs and they promised me 70% of all sales. I downloaded a contract and asked them why my contract said I would get 33% of the gross and not 70%? They apologized and sent me the new contract which was for 70% of the net.

(If you don’t know the difference between gross and net, look it up, or have someone else handle your negotiations. With gross you might see some money, with net you probably won’t.)

We talked for awhile and when I asked for the email addresses of some of the other filmmakers who distribute through them (so I could see if they were happy); I was told that they don’t give out that information. In my experience most legitimate distributors are happy to give you names and contact info from their other filmmakers. It’s like asking for a reference, if other people speak well of you the odds are the prospective filmmaker will have a better feeling when it comes to signing the rights over.

Not only could I not get other filmmakers info, but when I asked about their use of sub-distributors for things like ipods, cell phones, web streaming, etc, and what kind of deals they cut with subs (because that will effect how much is left over to pay my 70% or 33% whichever I take), once again I was told that was information they don’t give out…

Are these people serious?

So I couldn’t get any information about how these guys do business, and how that would affect my take of any money my movie makes. So I finally asked the big question.

Why should I sign with you and put my films up on your site?

I was told about all of the traffic they get, I would have my own web page, the people who run the site go to places like Sundance and promote their films and look for others to add. I would have a much bigger reach as far as potential audience if I went with them. My page would be listed on all sorts of other web sites like Amazon, and others.

So I asked them about promotion. What kind of promotion do they do, and what places would they take my movie to?

I was told that the films and filmmakers, who do the best on their site, are the ones that go out and do a lot of self-promotion. The ones that really get their film out in to the marketplace. They submit it to all sorts of film festivals, send it to publications, and constantly get the word out about their movie. “That’s the filmmakers who do well on our site.”

So if filmmakers are going to promote the hell out of their films, and do most of the work themselves, why would they want to be on a site that does nothing but make a master of their DVD, splash their logo all over it, take a good sized percentage to put YOUR film up on their web site, and then sit back and wait while you do all of the hustling. Which part of this doesn’t sound good to filmmakers?

There are too many distributors out there that are doing this same thing. You are doing all of the work, they’re putting their name and logo on it, and then are waiting for you to sell it for them.

I think one of the reasons they wouldn’t let me talk to any of their filmmakers is probably because they had no success stories. They probably don’t have anyone who is making money.

There is nothing that these people are doing for you that you couldn’t be doing for yourself. And keeping a larger share of the money your films make. There are good distributors out there who will work with you, the key is finding them.

When you talk with a distributor you need to find out what they are going to do for you.

AF Note. Film Baby is one of my tour sponsors and what I like about them is that they don’t promise me anything. I do the promotion, they did build a page for me for a small fee, and they take a reasonable cut to fill orders. My exposure is greater on their website and they cut checks on a weekly basis when your films sell. Check them out.

And now on to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note, angryfilminfo@aol.com.

There is a rumor that my work books should be ready for downloading soon, and there are going to be new Angry Filmmaker T-shirts available. These will piss off anyone, thanks to Jeff Pollard. I’ll let you know when they’re ready.

Please check out my internet specials, hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

On the road and other stuff (possibly free)

2009-02-24T16:20:00.000-08:00

February 24, 2009

I am back on the road so it is a little bit tougher to post. I have driven roughly 2800 miles in 4 days (I took 1 day off to teach two workshops at SFSU and SFCC) and I am glad to be back out on the road. If I stay too long in Portland I feel like moss starts growing on my side. So Moses and I are out and about.

I have been getting lots of emails of stuff that people want to plug and apparently they think my blog is the place to do that. I’m not sure how I feel about it but I figured I’d post a couple things and if they help you, fine and if not then I won’t do it.

I got an email from someone promoting NAB, wondering if I was going to be there this year. I’m not. But they are offering something for nothing if that’s possible. So here is what she told me…

For a taste of what the 2009 NAB Show has to offer, check out our Post|Production World Conference details, including 7 different Adobe, Apple, Avid and Mac Certification Courses: http://www.nabshow.com/2009/education/postproduction.asp

I'd like to offer you and your readers free access to the show, so you can experience all it has to offer first-hand. Below is a special registration code that you may pass along to your readers that will give them a FREE exhibits-only registration. And to thank you for helping us get the word out, we would extend an upgraded offer to you that includes access to Super Sessions, featuring insight from the biggest names in the industry.

Free Exhibits Passport Code: TP01
This pass includes access to the exhibit floor and the opening keynote - a $150 value. Please pass along and visit http://nabshow.com/passport to redeem!

I’m sure they are offering this to everyone but if you are going to be there anyway and this code really is free, then use it!

I keep getting stuff from for-profit companies wanting me to promote their wares and sometimes I can't tell who is for profit and who isn't. If you find something that I have posted is not what it seems to be please let me know. I don't want to promote sites and places that are trying to rip off filmmakers, if you see something on my blog that is questionable please bring it to my attention. There are enough good sites out there that if I'm going to promote someone or something I want it to be good folks.

I make a point of checking out all of the rules for any contest or site BEFORE I submit anything. I have seen too many shady contests where you send things in and it suddenly becomes theirs. (AOL has tried this in some of their contests.)So read carefully before you submit.

And now on to other stuff.

If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note, angryfilminfo@aol.com.

There is a rumor that my work books should be ready for downloading soon, and there are going to be new Angry Filmmaker T-shirts available. These will piss off anyone thanks to Jeff Pollard. I’ll let you know when they’re ready.

Please check out my internet specials, hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Show Biz Software, (www.showbizsoftware.com), Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

A newly discovered site, a film, and other stuff

2009-02-03T13:57:00.000-08:00

February 3, 2009

I apologize at being a bit slow and inconsistent to my blogging, I’m usually better than that. There’s just too much going on right now. It’s bad enough I am learning new things in Photoshop, FCP, and DVD Studio Pro but I also have to keep practicing them so I can remember what the hell I’m doing!

I just got back from Kansas City where I was helping my buddies Joe Heyen and Tony Ladesich finish up their doc on the Cowtown Ballroom, (The Cowtown Ballroom: Sweet Jesus!). It went great; they have a really good movie on their hands. It was fun to see a bunch of musicians from the 60’s and 70’s and see how well they survived. People like BB King (okay he’s older than the rest of them), Steve Miller, Brewer & Shipley, The Nitty Gritty Dirt Band and The Ozark Mountain Dare Devils are funny and very thoughtful. A lot of the people who worked behind the scenes at the Ballroom are wonderful and their back stage stories are really funny.

And then there were a few that were lost somewhere in time. A few of these people should be doing anti-drug and alcohol PSA’s.

This film will start hitting the festival circuit in a month or so, keep an eye out for it. I’ll write more about it in the future. Great job Joe and Tony!

I just did a podcast for a site called Common Film (http://www.commonfilm.org/). I have done some poking around and it looks like a great site. I spoke with Jon Ashby there and I really got a good feel for him and what they’re trying to do.

Here is a little bit from their site under “About us”…
Welcome to Common Film, the new site dedicated to 'open source' film production!
Formally known as Microcinemascene.com and RewindVideo.com, Common Film is an all new filmmaking site ushering in a new style of film collaboration. We call it open source filmmaking; we facilitate public use of submitted film production materials under a Creative Commons license to create new media.
For example, if you are a scriptwriter looking for someone to produce your work, you could write a new screenplay and submit it to the site under any of the terms of a Creative Commons license. You could make it freely available to produce if it remains unedited, or you may permit a user to make their own script modifications for their film (increasing the likelihood that it will eventually be shot and released). You can set terms such as Share-Alike, meaning that if you make your script available at no charge, the filmmaker cannot charge for the works he derives from your script. No matter what terms you choose for your property, you will always be accredited for your work in any media derived from it. To learn more about Creative Commons licensing, visit their website.
The site is based in Canada and free to join. I read some pretty good articles and it seems to be updated very regularly. Check it out! And don’t forget to listen to my podcast, I sound quite articulate…

And now on to other stuff.

I am heading out on tour again, hitting the road in late February. If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note.

I have been home for almost two months and I feel like moss is starting to grow on my side. I need to hit the road. Drop me a note, angryfilminfo@aol.com.

Please check out my internet specials, hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.com

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

The Spring Tour!

2009-01-21T18:15:00.001-08:00

Hey Everybody,

I am heading out on the road again this Spring and I am booking right now!

In the last five years I have done 9 tours. I have driven over 100,000 miles, flew to the UK, given over 400 lectures and work shops, screened my work 231 times, talked to thousands of students, eaten my weight in patty melts and club sandwiches, drank a swimming pool full of cheap coffee, (okay maybe a wading pool...), and ate three cases of antacids. And I am ready to do it all over again.

I will be on the road late February, March and April going to colleges and universities, film festivals, media art centers, art house theaters and anywhere else I can show my films.

I am also teaching my workshops:

Making the Extreme No Budget Film - - In 2000 Kelley Baker & Bruce Lacey set out to make a full length feature film for the sum of $1000. They failed miserably. Their budget ballooned up to $4000, (they forgot they had to feed cast and crew), but when the dust finally settled they had completed THE GAS CAFE, a 90 minute DV feature. Along the way they set up a website, shot behind the scenes footage (for a documentary), and made the movie that they wanted to. In 2002 Kelley sent 100 letters to 100 Friends asking for $100 to fund Kicking Bird. He raised $5000 and shot for 18 days. Kelley is currently touring the country with Kicking Bird. In this workshop Kelley will walk participants through the entire process from scripting through post production. How to get the most for very limited resources, asking the right questions to get free stuff, and working in an atmosphere where people share your vision, put in very long hours for no money, and enjoy it!

Guerilla Marketing and Self Distribution of Your Film - - Independent filmmaking is alive and well, it's independent distribution that is dead. At a time when "independent" films have to have a star and at least a couple million dollar budget, how do you get your films seen? Forget Sundance, Miramax, and PBS. These places get hundreds of submissions a year. From wooden nickels to websites, to press kits and reviews Kelley Baker shows you different ways to get an audience to turn out for your screenings. He challenges you to assess the real market for your film and provides examples of other filmmakers getting their work out, after their films were turned down by traditional distributors. You've already made the thing, what good is it doing sitting on your shelf?

Sound Design on Independent Features - - As the Sound Designer on Gus Van Sant's films, as well as animated features, network television specials and his own features, Kelley Baker has a unique approach to the Art of Sound Design. Whether you're working with a huge budget, or a non-existent one, sound is the one area of filmmaking that always gets little attention, until the very end. "We'll fix it in the mix..." is an often heard expression, but what does that mean? As a sound designer it usually means you're in trouble. There's never enough money or time to do sound right. So what do you do? Kelley will share his insights, and show you creative solutions to many sound problems. He'll also discuss what to do when you have no budget, and how to blow a lot of money when you do have it.

Pre-Production on Extreme Low Budget Features - - In this 3 hour work shop Kelley will walk you through the ins and outs of everything you need to do before you get to the set. From staged readings and actor rehearsals, to script break downs and securing lots of free stuff Kelley has seen and done it all. How do you know if you've hired the right crew? What kind of insurance should you have, and how much? What happens if one of your locations falls through at the last minute? Do you have location releases, actor releases? Who gets a certificate of insurance? How long should Pre-production even last? If you get Pre-production right then the rest of your schedule should go smooth, and when it doesn't you need to know what to do to get it back on track.

Making the Personal Documentary - - In 1992 Kelley Baker had his first child so he decided to make a fun little film about it. The result, YOU'LL CHANGE (3 min), has been seen all over the world. Not bad for a little movie shot on 16mm short ends for less than $1000. He followed this with Stolen Toyota, also made for under $1000. He has made 8 personal short films which have screened on PBS, The Learning Channel, Canadian and Australian television and have won numerous awards in film festivals like London, Sydney, Annecy, Edinburgh, Sundance, Chicago and others. Kelley will discuss how he takes the little moments in his life and makes award winning films out of them for fun and profit.

There are still open days on the tour so contact me (angryfilminfo@aol.com) and let’s see what we can put together.

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

Internet Special!!!!

Check my Internet Specials page, http://www.angryfilmmaker.com/internet_special.php

I have put my Sound Design for Independent Films (It’s The Dialog Stupid!) Workshop DVD on special this time. You get the 2 ½ hour workshop on 2 DVDs for only $19.95. It’s got lots of good information in it. Check it out.

So drop me a line and talk to me. (angryfilminfo@aol.com) and don’t forget to check out the website, www.angryfilmmaker.com for more information.

Angrily yours,

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

Can I get some help here? And other stuff.

2009-01-07T12:30:00.000-08:00

Another new year! Let’s hope this one is better than the last.

And speaking of New Years resolutions. I resolved to post my blogs on Mondays and develop some consistency for the year. It didn’t take long to mess that resolution up, did it? I can only imagine how my “eating healthier” resolution is going to work out.

I want to ask something of my readers. If you have had any experiences with any of these video streaming sites would you please drop me a line? I get asked about them all the time and I am only familiar with a couple.

I am interested in hearing from you whether you’re a filmmaker or a film watcher. What are the good sites, what are the bad sites, in your opinion. Why are some sites good or bad? If you’re a filmmaker are they paying on time? What kind of percentages are you getting? Are you happy where you’re at? Would you work with these people in the future? If you’re a film watcher, why do you like a site? Is the site easy to access, easy to navigate?

I want to find out as much as I can about different sites out there as I get emails a couple times a month from these services wanting to sign me up. And if I’m getting lots of emails I imagine some of you are too. So if we can pool our knowledge then I can put a bunch of the information together and post it. We can try to figure out who the good sites are and why.

My goal is not to endorse a particular site but to post information about the different sites and then you can judge for yourself who you want to deal with. You all know that I self-distribute and I am very careful of the people and companies I do business with. I just want all of us to be able to make some informed decisions on this stuff.

And yes I am sure that some of you have had bad experiences with some of these places and some of you have had good experiences. When I go to film festivals I find that so many filmmakers are pissy about everything. Nothing is ever right. I am going to try to take that in to account when I read your responses.

What I am asking is that those of you that do respond please try to be objective about your experiences. I want to try and wade through the different opinions and see what’s out there. Then I’ll post what I find out.

Send me your opinions at angryfilminfo@aol.com.

And now on to other stuff.

I am heading out on tour again, hitting the road in February. If you want Moses and I to come to your college, university, media art center, high school, theater or even to your house for dinner send me a note.

I have been home for almost two months and I feel like moss is starting to grow on my side. I need to hit the road. Drop me a note, angryfilminfo@aol.com.

Please check out my internet specials, hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.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, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

A Bright Idea and other Stuff

2008-12-29T10:00:00.001-08:00

December 29, 2008

One down, one to go. As far as holidays.

2008 has been an interesting year, some good, some not so good. Everybody always writes these year end best of columns and mostly I find them boring. I don’t care what somebody else thinks were the best movies, songs, television shows or whatever. All of this is subjective and I usually disagree with most lists. It’s just how I am.

In 2009 I will be hitting the road again with a vengeance! There are lots of new venues to come to and lots of filmmakers out there I still haven’t met. I am hoping that those of you with projects in various stages complete them in 2009. I know I certainly have a couple I need to finish.

Every year technology moves forward and we do things differently. I have been reading some articles about some of this new camera technology and it all sounds very impressive, but all of these articles that I’ve been reading never talk about one thing. Lighting. You can have the newest and greatest camera out there but if your lighting isn’t any good the camera is not going to help you.

How come people don’t write about using light and shadow to tell stories anymore? Some people seem to think that if you are shooting with this new camera gear you don’t have to worry about lighting. Why is lighting so hard for filmmakers to think about, let alone do?

Personally I would rather own some good lights (I do) than a camera as the camera is going to be obsolete next week and the lights can be used for years.

You need good lights. Good lighting is the difference between amateurs and professionals. People think because it’s video, they don't need lights. Then they wonder why their stuff looks like crap! Use lights.

Many filmmakers don’t budget for lights because they think they don’t need them. Or maybe they think they can’t afford them. Lights are easy to dig up, depending on what you need.

A lot of people have their own lights. Some gaffers buy their own lights because they can pick them up used. It saves them money, and they figure if they have some lights they'll get more work. And that's true.

Check out film schools. A lot of small film programs will have a few Arri or Lowell light kits. They are nice compact kits, and it's amazing how much you can light with them if you know what you're doing. Also look into small production companies. If they're not using their lights at the moment, they might give you a hell of a deal.

There is always borrowing from cable access. Now, I know if you use their gear, you’re supposed to let them broadcast something in return. So shoot a trailer or a short video just to give them something. We'll keep the fact that you just shot a feature with their gear between the two of us.

You will also need C-stands, flags, clamps, and all sorts of other grip equipment. Keep your eyes open. It’s all out there, and pretty cheap if you have to buy it. You will use this stuff over and over again, and it doesn't become obsolete. So, go get it already!

Other stuff…

My work books now exist as PDFs and will be posted on my site soon for a mere $10 per book. The weather and illness have pushed the work on the site back. I’ll let you know when everything is finally ready.

Check out my internet specials and hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Show Biz Software, (www.showbizsoftware.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their sites and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at www.filmbaby.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, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Watching (Old) Films Learning New Stuff

2008-12-17T13:11:00.000-08:00

December 17, 2008

I am sitting in freezing weather today. I think the high is supposed to be 22 degrees. It is sunny and clear and the hill in front of my place is like a giant slip and slide. (It is snowing now and another storm is on its way in.) It is fun to watch, but only because I had the foresight to park my car in the flatlands a couple days ago so I can get out of I need to. But I don’t need to at this point.

The good part about the bad weather is that I have been able to watch a couple of DVD’s that have been sitting here for awhile.

I wholeheartedly recommend Riding Giants, the Stacey Peralta documentary on surfing. The visuals are amazing and I have to say I am a sucker for the archival footage. Even though I grew up in Oregon I always wanted to be a surfer. The whole life style looked so cool! That’s probably why I was so in to skate boarding in my youth, the closest I was ever going to get to surfing. As he did in Dogtown and Z-Boys, Stacey makes great use of not just archival footage, but also in the way he stages interviews. His films always have terrific photos and his treatment of them is always interesting. If you haven’t seen Riding Giants, check it out.

I also watched Fearless Freaks, the movie about The Flaming Lips. Another fascinating film. I am not a big fan of the Lips, but I think I need to go back and listen to their music again. I have a new found respect for what they are doing. It’s a good movie to watch if you get the chance.

I also watched Cat Ballou (1965) with Jane Fonda, Lee Marvin, and Dwayne Hickman. I loved that movie as a kid and I have to say it still cracked me up. You know how sometimes when you watch a film that you loved as a kid it doesn’t hold up? Well I am happy to say this one does. Lee Marvin is absolutely hilarious! And any movie with Stubby Kaye and Nat King Cole providing musical interludes has got to be cool! Check out the interview with the Director Elliot Silverstein. When he talks about the struggles of using Nat King Cole in the movie and the attitudes of the times it’s pretty amazing.

I remember seeing Stranger Than Paradise when it came out and being surprised at how minimal it seemed. No editing, all scenes in a single wide shot. Stark black & white footage. I have to say that I think I liked it a lot more this time than when I originally saw it. The acting is so good and so low key. I had also forgotten about the ending which was a wonderful surprise.

The great thing about watching these films is that it allows me to study how other directors are doing things. You think a film like Cat Ballou was such a piece of fluff, although it was nominated for 5 Oscars (Lee Marvin was the only winner and it was his only Oscar win) but look at the way they wove in Stubby Kaye and Nat King Cole. How did that look in the script? It you were to explain what you wanted to do with them people would have looked at you like you were nuts! But it works.

I learn new stuff every time I watch a Stacey Peralta film. I love what he does with graphics. It makes me see that stills can be used in a very creative way, unlike say the way that Ken Burns uses them. (I am not a fan of Ken Burns, the man made Jazz seem boring…). I always take things from Stacey’s work that I think can help mine.

The Flaming Lips movies was so casual, it was like hanging out with friends. You get a good feel about these guys from the film and it makes sense that it was made by a good friend of theirs. He captured good stuff because of his intimate knowledge of the band and the people behind it.

And with Stranger Than Paradise what can I say? Talk about a minimal story and minimal everything and yet it is an interesting and entertaining film. I think it’s a great film to watch to see what you can do with very little money. I watched Border Radio a few weeks back and wasn’t impressed. I know they had no money but it was really hard for me to develop any interest in those characters. Since I am a huge fan of the punk scene I should have enjoyed it much more than Stranger Than Paradise, I just couldn’t get in to it. But I learned things from that film as well.

And when I say I take things from these movies I don’t mean I steal things or rip off techniques, I mean that I look at how they did things and it makes me think of how I do similar things and maybe how I can make my own work better. It makes me think more creatively and not get complacent.

Anyway, I should probably get back to work on my own stuff.

Other stuff…

My work books now exist as PDFs and will be posted on my site soon for a mere $10 per book. The weather and illness have pushed the work on the site back a bit. I’ll let you know when everything is finally ready.

Since we are getting close to the holidays I am going to be putting different specials up each week so check out my internet specials and hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their site and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at Film Baby.

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, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Welcome Aboard Show Biz Software

2008-12-09T06:21:00.000-08:00

Hey Everybody,

I am happy to announce that Showbiz Software is my newest sponsor. You need to go to their site, www.showbizsoftware.com and check out their software. I’ve been using the Budgeting and Scheduling software and I really like it. It’s simple to use and it’s got everything.

They have free downloads on some programs and a terrific bargain bin. Check them out and you’ll see why I like them. In fact send them a message that you heard about them through me.

They are joining Film Baby, The Indy Film Co-op, Pollard Design, and Zoom Studios as very loyal sponsors. I’m happy to have them on my side. Check em out!

I am booking my February Tour of the UK, and my Spring Tour of the US, so if you want me to come by let me know. Drop me a line at angryfilminfo@aol.com.

My book, The Angry Filmmaker’s Survival Guide Part One: Making the No-Budget Feature should finally be debuting after the first of the year. I had some problems with my first publisher so I changed publishers and it’s all coming together. I’ll let you know when it’s ready.
Other stuff
Internet Special!!!!

Check my Internet Specials page, http://www.angryfilmmaker.com/internet_special.php

Right now you can pick up Kicking Bird and The Short Films together for only $18 with no shipping and handling charges. That’s an $11 savings! Check this page every week and see what’s on special.

The AF Work Books will soon be available for downloading. We’ve almost got everything worked out and we should have them available next week. Don’t worry I’ll let you know.

You can also see some new videos that have been posted on the site, a couple of interviews with me and some footage from one of my work shops. Check out The AF Speaks and Odds & Ends.

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.)

Feel free to link to my site and I’ll link to yours.

As always,

Talk later,

Kelley

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

AF Bail Out and More Documentary Stuff

2008-12-07T14:00:00.000-08:00

December 6, 2008

As most of you know, I just got back from Washington, D.C. where I testified before Congress trying to convince them that they should be bailing out Angry Filmmaker, Inc. I mean, I feel like I’ve mismanaged my company just as well as any of those other big guys and they all seem to be getting money… Anyway, they all seemed skeptical so I guess I won’t be getting any checks from them any time soon. (As one Senator told me, “Don’t hold your %$@#*&^ breath!”) And yes, I did sell the AF Corporate jet, I’ll just tour by van from here on out.

So I guess my financial future is going to be in the hands of you, the consumer. Please check out my site and if you see anything there that you like, BUY IT!

I mean isn’t it better to give me money and actually get something in return, then to give it to some huge faceless behemoth. You know that I’m going to use the money I get on making more movies, not on expensive conferences and retreats like some giant Insurance companies that shall remain nameless. (AIG). And anyway, we hate insurance companies!

But I digress… What were we talking about last week? Oh yeah,

Documentaries and funding part 2.

There are people who hate asking their friends for money. They won't do it, even in the form of a donation. These people are not going to be making movies any time soon.

Let’s talk about Fundraising parties. I have thrown fund-raising parties. You get a few of your friends together to host an event at their homes and have them invite friends of theirs. You all eat appetizers, drink cheap wine, and then you make a little presentation about your movie and pass the hat. These can be really successful, or not. It all depends on how aggressive you want to be.

An excellent resource for planning fundraising parties is Morrie Warshawski's book, The Fundraising House Party. Morrie is a buddy of mine, and this is a shameless plug! It's also a good book, check it out at www.morriewarshawski.com.

We did a fundraiser once at a restaurant and all sorts of moneyed people were there. It was organized by a professional group and the woman who was sponsoring it wanted to keep everything “low-key.” Well, it was so “low-key” that we didn't make any money!

It would have been better to just give me the money they spent on the fundraiser! I did follow up with thank-yous and reminders, and all sorts of stuff and made maybe $2,000, total. The event cost around $5,000. I found out later it was not so much a fund-raising event as a social gathering for the people sponsoring it. Sort of a "coming out" party if you will.

If you're going to do these kinds of fund raisers, you have to be aggressive! You have a captive audience, now you need to bag them. The next time I do this, trust me, it'll be a lot different.

A couple friends of mine have been very successful with fundraising parties, it comes down to, how bad do you want to make the movie.

There are stories that Michael Moore had Bingo parties in Michigan as one way he raised money for Roger and Me. I don't know how true this is, it's probably just another rumor perpetrated by the liberal media.

Other stuff…

My work books now exist as PDFs and will be posted on my site this week for a mere $10 per book. We should have them up and running by mid week. Or so I have been promised…

Since we are getting close to the holidays I am going to be putting different specials up each week so check out my internet specials and hopefully you’ll find something you like. (www.angryfilmmaker.com, as if you didn’t know)

There are some new video posts up on my site, check out The AF Speaks and Odds & Ends.

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their site and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at Film Baby.

Talk later.

Kelley

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

Let's Talk Docs and other stuff

2008-12-01T09:01:00.000-08:00

December 1, 2008

Well, I made it through another Thanksgiving holiday relatively unscathed.

Let’s talk about documentaries here for a moment…

Documentaries are so hip right now, you should find a non-profit sponsor if you want to make one. A 501(c)3 in IRS terms. I don't think you can do a dramatic feature this way, but I'm not a lawyer. Go ask one. You can also form your own non-profit corporation, but it's a lot of hassle and paperwork, and to do it right you really do need an attorney. I would only suggest forming your own nonprofit if you plan on doing a lot of documentaries or educational films. For a one-shot deal, it's too expensive and too much work.

So what does a non-profit provide for you in return? Free money. Pure and simple. Okay, it's not really free, you’re still going to have to work to get it.

You can apply to foundations, which by law can only give to non-profits. You can also solicit donations from individuals and, after discussing it with their tax professional, they can probably write the donation off on their tax return. It works wonderfully for everyone involved.

What's the downside? A non-profit will usually charge you anywhere from 5 - 8% of any funds you raise, to administer the funds and do all the bookkeeping. Some non-profits won't allow you to go after the same foundations that they're pursing, and they certainly won't help by giving you their contacts. Those are about the only downsides I've encountered.

You’re going to work just as hard at raising money as you would for any other project. It's just that you aren't dealing with investors in this case, and no one expects your movie to make any money.

On one of my docs, I needed to do a shoot in Bowling Green, Ohio, and I had no money. I needed to do this shoot to keep my credibility intact with my subject. So two weeks before I was to leave, I made phone calls to about 25 people I knew, and in two nights I raised just over $1200. It was enough money for me to do the shoot and keep my credibility intact.

The big selling points for me were: It was a donation from my friends that they could write off at tax time and they were helping me. The personal thing will get you further than anything else. If your friends and family won't help you, why should anyone else?

I’ll talk more about docs next week.

Other stuff…

There are some new things happening, my work books now exist as PDFs and they will be posted on my site soon so that they can be downloaded. I am still working out the prices, but they will be less expensive then if you buy the printed versions. Keep watching this space.

I seem to be popping up on YouTube and ViodaTV. You can go to http://blip.tv/file/1370245, or www.youtube.com/watch?v=sn5x3Avb45M to catch an interview I did with Roger Bindi while I was in Madison, WI doing workshops for the Wisconsin Film School. Check out blip TV, it’s an interesting site and go to http://www.viodi.tv/ Roger has a lot of things up there that might be of interest.

Also check out www.youtube.com/user/dreamcatcheriowa. Dream Catcher Productions sponsored one of my work shops in Iowa (yes, the famous night I did the wrong workshop for 3 hours) and put up a short segment from the work shop. Check it out! You can also check out their web site, www.dreamcatcher.com.

Don’t forget to check out my tour sponsors, Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their site and their services, you better.

The first two Workshop DVDs are selling well. You can find them at, www.angryfilmmaker.com, and at Film Baby.

Talk later.

Kelley

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

The Road Home/Weird Dreams and other stuff

2008-11-18T11:01:00.000-08:00

November 17, 2008

I am home and this was a good tour. I spoke at a lot of new places and saw lots of old friends. The worst part of the tour was the 15 hour drive home from LA. I hit rain and even thick fog driving through the Siskiyous from Northern California in to Oregon. I almost hit a deer as I came around a corner. It was just standing there, looking like a deer in headlights… I missed it by about a foot.

I tell people all the time that touring can make you crazy, not just out on the road but when you come home as well. I got back to Portland late on a Saturday night after a final 15 hour drive from LA. I have been having trouble sleeping and getting used to the time zone again.

Last night I had two dreams...

Barack and Michelle Obama came over to my house (not my real house) and wanted to talk to me. We discussed where the kids should go to school and other family related things. We did talk for a few moments on issues of national importance and I happily offered my sage counsel. They both thanked me and I woke up.

It was just after 3 am. I used the bathroom and crawled back in to bed. I was worried I wouldn't be able to get back to sleep.

I must have, because the next thing I know I was in a "Green Room" at Fox news waiting to be interviewed. We were going to be talking about my films. I was supposed to be live with the hosts, but they were suddenly concerned about having me with them so they asked me to plug in my lap top and I would do the interview from the "Green Room" via my computer. I told them I didn't feel good about not being able to see the hosts faces so that I could react to their "eye rolling and sarcasm" that I knew would be forth coming. They said that they would try and work it out. (I still have no idea who it was who would be interviewing me as I don't even know who is on Fox.)

I was receiving some good advice from my buddy Johnny Storholt who had apparently come with me. Johnny Storholt is a kid I grew up with but his Mother moved the family to the suburbs in the late 60's as she was concerned about the neighborhood and all of the hippies who were moving in. I haven't seen Johnny in at least 30 years. His advice seemed good.

As I am setting up my computer Susan Van Wechel, (I went to Church with Susan when I was a kid) and her daughter come in and sit down. Susan (who I haven't seen since I was 16 and I don't know if she even has a daughter), is there because her daughter is doing some sort of audition at Fox News later. Susan also informs me that someone at my former church (I was raised Baptist) had heard all about my film The Gas Cafe and has built a web site telling people to avoid that film and all of my other films because they are blasphemous! I told her I thought that was great.

Then I woke up.

Now maybe people will believe me when I say that when I come back off of a tour I need to be left alone to try and get my head back to normal.

God only knows what I will dream tonight...

It is good to be home and try to decompress. Moses hurt his leg jumping out of the van towards the end of the tour so he is taking it real easy.

I did a short interview in Madison, WI which I will eventually be posting to my own site, but catch it here for now, http://www.viodi.tv/2008/10/17/angryfilmmaker/

I will be writing next week about more film related stuff. Bear with me as I return to my proper time zone.

Other Stuff…

I am now working with a new publisher and hope to have my book available before Christmas. Keep an eye out for it.

I will also be making my work books available for down loading. For those of you who don't know about the work books, they offer all sorts of helpful hints and things to remember during Pre-Production, Production, and Post-Production. There are now 6 of them. Check them out at, www.angryfilmmaker.com/buy.htm

I want to thank my tour sponsors Film Baby (www.filmbaby.com), Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people, all great companies.

If you haven’t checked out their site and their services, you need to do it.

The first two Workshop DVDs are selling pretty well. You can find them at, www.angryfilmmaker.com, and at Film Baby.

Talk later.

Kelley

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

The Tour is Almost Over, Scheduling and other stuff

2008-11-02T08:03:00.000-08:00

November 2, 2008

I am finishing up the tour and it has been a great one! Thank you all for your support. I am tired, but it has all been worth it. I am in Houston and I’ll be in San Antonio on Monday. That is my last stop, and then I am hitting Phoenix and LA on my way home for some meetings, and to see a couple of old friends. I’ll be home next weekend if all goes well. Let’s just hope the weather gods are smiling and I have decent weather all the way home.

The one thing that continues to stand out on my tours is how hung up people are about being on the set. Filmmakers still seem to think that if you’re not on the set, then you’re not making a movie. They don’t see the importance of Pre-Production.

I always say that the most important part of filmmaking is Pre-Production. If you take you time and do it right you save lots of money on your film, and things go much smoother. In my mind, this is the most important stage in making a film.

I am surprised how many people don’t know how to number a script, break out prop lists, and schedule a shoot. I am always being asked how long does it take to shoot a scene, like there is a magic formula. There isn’t. Every scene is different, depending on location, lighting, are there camera moves and what is the mood of the scene?

How tough is this for the actors? Is it a really emotional scene?

Let’s talk a bit about scheduling…

Never put the final scene, big climactic scenes, or any love scenes early in your shooting schedule if you can avoid it. These scenes are always tough to shoot from an acting standpoint. There's nothing worse than throwing two actors into a love scene early on, and saying, "Okay, take your clothes off in front of strangers and start making love!" It's not going to be a very good scene. Also, if a couple of characters are going to have a major fight with each other, give them time to get into rhythm and character on the set before you demand that they emote their brains out.

Your crew is still getting to know how each other works, and you haven't set up a good working pace yet. Get the cast and crew comfortable with each other before the really tough scenes.

Don't be afraid to have a "closed" set when doing intense scenes. By "closed," I mean only the people who are absolutely necessary. Get other cast and crew members away from where you're actually shooting. You don't want any extra distractions for your actors while they're working on a scene that is uncomfortable for them. This usually happens with love scenes or anything with nudity. Just close the set. Your actors will thank you. Sometimes people not in the scene will be pissed. That's okay, any cast or crew person who gets pissed about a closed set because of nudity shouldn't be there in the first place.

On big movies, other people always do the script breakdown. Assistant directors, some producers or production coordinators. Well, you can't afford that. So get used to doing it yourself. I always work with my DP (Randy Timmerman) because from a photographic standpoint, he knows how long it's going to take to light and shoot various scenes, how fast his crew can move, and what scenes can be lumped together for efficiency. Randy has a great feel for this sort of thing. I keep in mind the order of the scenes, and how tough they will be on the cast, I want to get the most out of the actors. Start small and work up as everyone gets more comfortable working together.

The best way to figure this out is to make short films first. Making short films gives you the experience to know how long it will take to shoot scenes. And most of the time you never figure it out perfectly. Then you adjust your schedule as you shoot. If you are working with an experienced DP, AD, or Production Manager have them work with you on the schedule. And listen to them.

We’ll talk more about scheduling at some other time, I need to get back on the road.

Don’t forget to VOTE!

Other stuff…

I will be posting some Holiday Specials soon on my web site so keep your eyes open for that. The work books are selling very well, isn’t it time you picked up a couple?

Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out. Also check out my other sponsors, Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people and great companies.

The first two Workshop DVDs are up on my site, www.angryfilmmaker.com, (and Film Baby’s). They are selling pretty well out here on the road.

See you on the road.

Talk later.

Kelley

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

Road Weary....

2008-10-26T12:24:00.000-07:00

October 26, 2008

Hey Everybody,

My laptop is still Dead (it appears to be terminal) but I am alive and well and still on the road. Sorry I haven’t blogged in a couple weeks my down time has been non-existent!

The tour is going well, but I am exhausted! What little time off I am getting I am driving, and in some cases I drive 300 – 400 miles in a day do a work shop that night and get up in the morning and do it again.

I want to apologize to the folks in Dubuque, IA last week. I was so tired that I did the wrong work shop and no one corrected me. I didn’t even realize I did the wrong work shop until someone gave me a couple of extra posters from the event for my collection. I took one look at the poster and realized that I had been talking for 3 hours on the wrong subject. When I talked to one of the organizers to apologize, he said he realized about 10 minutes in that I was talking about the wrong things, but I was on such a roll and the audience was with me so he just let it go. I feel like a real moron!

If you have a poster from the workshop in Dubuque, IA hang on to it! It should become a collector’s item.

The audiences have been great! In addition to the college and university classes (who have to attend), I am averaging between 35 and 50 people per work shop. I am grateful for such a great turnout.

I have been lucky enough to be involved with a few groups that are relatively new and are working hard to try to create film communities in their towns and cities. I want to do a shout out to, Jim Carrier and The Wisconsin Film School, The Nebraska Film Group, Joe Shermann in Dubuque, and FAME in St. Joseph, MO, for organizing the events and tirelessly working to get a great turnout for me. These people work damn hard and I really want to see them succeed and create film communities. I am looking forward to coming back to each of your groups next year.

That is what has been nice for me to see on this tour, people trying to create communities and realizing that they can make movies where they live. They don’t have to be in LA or NY. I think we are going to be seeing some interesting work coming out of these places in the near future.

I have two more weeks before I get home, and my own bed is sounding pretty good right now. I have been lucky with the weather not being too bad; I hope my luck holds for the next couple weeks.

I want to thank everyone who has dropped me a note wondering why I haven’t blogged the last two weeks. I assure you all that I am okay and I appreciate your concern. I will blog next weekend, and have something new and film-related for the following week. And to Jim over in Omaha, I know you miss my rants; I’ll see what I can come up with for next week.

Yes, I am thrilled that gas prices are going down, but no, I don’t trust those oil company bastards to keep them down. They are already looking for excuses and reasons to try and raise them again. By the way, does anyone else get 20% worse fuel mileage when they use ethanol? When I use it I get NO performance, and bad mileage. Don’t we subsidize that stuff too?

Don’t forget to go out and VOTE!

Other stuff…

I had a great time at the Father/Daughter Dance. It was great to spend quality time with my daughter. Missing her is the toughest part of being out on tour.

Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out. Also check out my other sponsors, Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people and great companies.

The first two Workshop DVDs are up on my site, www.angryfilmmaker.com, (and Film Baby’s) and they are ready to fly off the shelves. They are selling pretty well out here on the road. Also check my site for my Internet Specials.

It’s time to hit the road again.

Talk later.

Kelley

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

Dead Laptop and other things...

2008-10-08T12:24:00.000-07:00

October 8, 2008

My apologies for taking so long to post. My laptop went down, apparently it is the motherboard and so I am looking at a new lap top. I wish to thank HP for making a laptop that dies shortly after warranty; you couldn’t have planned it better…

I want to thank Danny Boyd (otherwise known as Professor Danger) of WVSU for loaning me a laptop so I can keep going. Danny is a true friend, and one hell of a filmmaker. Thanks man.

Two weeks ago I was at the B Movie Celebration in Franklin, IN and it was fantastic! Bill Devers and The Indy Co-op did a great job putting this in and my hat is off to all of the volunteers who made it seem effortless. They also host Troma Dance and I had the pleasure to sit on 2 panels with Lloyd Kaufman. Lloyd is a great and very smart guy who never failed to crack me up with his sense of humor, and amaze me with his insight in to the business. I got to hang out with so many terrific people that you can bet I’ll be back next year if they want me.

These guys take B movies seriously, and also have a great sense of humor. I could only stay Friday through Sunday morning but I feel like I packed a lot of things in while I was there. One of my personal highlights was catching an outdoor screening of The Blob (with Steve McQueen) in a parking lot across from one of the main theaters. It was a warm evening and a perfect venue for that film. There were a bunch of very diverse venues in addition to a wonderful old theater and its parking lot. They included the Juke Box (a bar), the Johnson County History Museum, and even a smaller screening room over at Bill’s office. A very intimate celebration and God only knows how many films were screened. There were also workshops and vendors tables. There is no way you could have seen every film and workshop that you wanted to. That’s why I want to comeback next year.

Once again, Great Job Bill Devers and The Indy Film Co-op. I wish I could list all of the people that were involved, just know that you all have my thanks!

I have been at quite a few universities and talked to a lot of students these last two weeks. I have gone from 80+ degrees and high humidity to rain and in the 50’s. I am in St Paul right now where I am doing 2 guest lectures and a workshop at the UM and a guest lecture at MCTC. Thanks Jay Horan for putting this altogether.

I am talking to another publisher about my book, so we’ll see what happens with that.

Sound Thoughts from the road…

If a movie has good sound, you shouldn't notice it.

If you heard lots of sound, that's not necessarily good sound.

As the sound designer on the films Good Will Hunting, To Die For, Far From Heaven, and My Own Private Idaho, I think these films had the right sound. The sound reinforced the story. It didn't stand out. There are a lot of great moments in these films, and sound helps them, but sound doesn't take over. There's a big difference.

Ever watch the Academy Awards? I mean the technical awards. You know, the ones most people talk over. Costume Design? Editing? Sound Editing? Do you know what films had the best sound in any particular year? You won't find that information at the Academy Awards. What you'll find is the films with the MOST sound.

You think I'm kidding, check it out. All the nominated films are these huge blockbuster movies that are too loud. They overwhelm you with lots of explosions, fights, and sheer noise. That's not tough to do. Anyone can throw lots of sound at you and try to overwhelm you so you miss bad dialog and weak plots. For more information on bad dialog and weak plots, please see anything by Michael Bay, James "King of the World" Cameron, Steven Spielberg, Jerry Bruckheimer, and the list goes on and on. But I'll stop now.

Loud movies are easy to do; the tough ones are the quiet ones. Think about My Dinner With Andre. Two guys talking in a restaurant. How do you make that interesting? Or at least not monotonous.

What about a movie like Sideways? Its two guys talking about wine and relationships. You have no big sounds to hide behind. The small realistic films are tough. Mostly, because nothing happens, but it still has to sound real. I can't tell you anything about the sound in Sideways, but I can tell you about the story.

Now, there are exceptions. A film like Das Boot. The sound designer made the submarine a character in the movie. Remember all the creaking? The rivets popping? Waiting for the depth charges to explode? In this instance, waiting for the explosions was worse than the explosions themselves. It was brilliant.

The sound helped create suspense. When they were stuck on the bottom, it seemed like days. You felt like you were on the sub with them. There wasn't much music, it was pretty sparse. And by being sparse they made the whole voyage unforgettable. Go see that movie! That's great sound. Pearl Harbor? Titanic? Private Ryan? Give me a fucking break! (Sorry Gary, just my opinion.)

Other stuff…

Just a reminder, I am flying home for the weekend for the Father/Daughter Dance with my daughter. I am also going to be doing my Guerilla Marketing & Self Distribution Workshop at the Northwest Film Center on Sunday Oct 12 from 11- 4 PM. For more information check out http://www.nwfilm.org/education/workshops.php#80 And could somebody please tell these folks to spell my name right! Jeez!

Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out. Also check out my other sponsors, Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people and great companies.

The first two Workshop DVDs are up on my site, www.angryfilmmaker.com, (and Film Baby’s) and they are ready to fly off the shelves. They are selling pretty well out here on the road. Also check my site for my Internet Specials.

It’s time to hit the road again.

Talk later.

Kelley

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

Road Notes & Music Rights

2008-09-22T12:58:00.001-07:00

September 21, 2008

Hey Everybody,

Greetings from the road! I was at the Rappahannock Independent Film Festival this weekend and boy was it a good one. This was the first film fest they have done and I was real impressed. I saw lots of good films and met a lot of terrific people. My hat is off to Ryan Poe and Paul Lewis for putting together a quality festival. Everything ran on time, and talk about hospitality, if you were a filmmaker and were there you know what I am talking about.

My work shop went great and I had a lot of people turn out and some great questions. I am looking forward to coming back next year. If you are on the east coast, mark this festival down on your calendar, and submit your film next year. This festival is starting small, but it is going to grow. Get in on this one early, it is run and supported by people who love independent films. It doesn’t get better than that.

A special shout out to my weekend host John Hollinger. Thanks for making Moses and I feel so welcome.

Book news…

I have parted ways with my publisher so my book is going to take a bit longer to get out. I am working on it and hopefully will be making an announcement soon about when it’s going to come out.

Let’s talk music for a minute…

Now I don't know where this rumor got started, but you can NOT use other people's music in your film without permission! I keep hearing of these stories about how you can use a certain amount of music without paying for it. That's bullshit! If you use music someone else has copyrighted, you have to pay for it, or at least get their permission, and the length doesn't matter. Talk to a lawyer and they'll tell you the same thing.

If the music is public domain, that's fine. But if it's been recorded, then the performance is probably NOT in the public domain! You will have to pay for the performance rights. You can rerecord it yourself and then you should be okay.

Now I don't want to get into rights, clearances and all of that stuff here, that's not what this column is about. If you have music questions, talk to a lawyer who specializes in this crap! If you want to know who owns rights to various songs then call BMI or ASCAP. They should be able to tell you not only who wrote a tune, but who owns the rights and how to contact that person or their agent.

There is also a trend now not to clear music for your movie if you're going to send it to film festivals to find a distributor. Then WHEN it's picked up for distribution, you get the distributor to pay for the music rights. If anything, WHEN should read IF, because the odds are, it's not going to happen. A lot of distributors won't pick up a film if the music rights aren't cleared. Music can cost a lot, and some distributors expect you to pay for the music. It's not going to come out of their share.

I think it's a bad practice, because if you don't get a distributor, then what? You can't really sell the movie to video stores, NetFlix, or places like that. You're kind of stuck, unless you go in and change the music and then remix the whole movie. That's not a great idea for a lot of reasons. It costs more money, it takes energy to go back in and redo a finished movie, and the movie sits around on your shelf not doing anything for you until you get it done. And between you and me, most of the time these movies don't get done.

Find a musician who is willing to write music for your movie.

We’ll talk about that later.

Other stuff….

I still have dates available, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I am thrilled that Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out. Also check out my other sponsors, Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people and great companies.

The first two Workshop DVDs are up on my site, www.angryfilmmaker.com, (and Film Baby’s) and they are ready to fly off the shelves. They are selling pretty well out here on the road. Also check my site for my Internet Specials.

It’s time to hit the road again.

Talk later.

Kelley

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

Notes from the Road.

2008-09-16T05:41:00.001-07:00

September 16, 2008

Notes from the road...

I finished mixing Last Breath a week ago in Lawrence, Kansas.

I stopped by Franklin, Indiana to drop off a 35 mm print of Birddog for some theatrical screenings that are coming up in that area. I spent the night at Bill Devers place (Bill runs the Indy Film Co-op) and we stayed up late talking about filmmaking, distribution, and politics. One of the things I like about being on the road is re-connecting with good friends. Thanks Bill for great conversation and a wonderful meal. I was still full most of the following day.

I surprised my publishers (Dog Ear Publishing) by dropping in on them and asking where the hell my book is. It was supposed to take 12 – 16 weeks we are now in to month 7. Right now I have no respect for these people, they have messed up so many things and when I ask for a production schedule they keep telling me it’s all up to me? If it was up to me the book would have been out 4 MONTHS AGO!!! They wondered why I was there and I told reminded them I was on my book tour. Oh yeah, and I still didn’t have any books! Maybe I’ll have books by the end of this tour, but right now I kind of doubt it. Morons is the nicest thing I can think of to say right now.

From there it was off to Baltimore and Creative Alliance for a screening of my short films and my workshop on Marketing and Self-Distribution. The attendance was wonderful for both events and I had a terrific write up in City Paper in Baltimore. Thanks Kristen for making everything run so smoothly.

The most recent DC Shorts Film Festival concluded last night and I have to say that it was FANTASTIC! Jon Gann puts together an amazing film festival. DC Shorts is the most filmmaker friendly festival I have ever been to. If you get in to this festival you need to go! You have so many opportunities to meet other filmmakers, talk to audience members and eat amazing food. All of the films I saw were of a very high caliber. Whether I personally liked some of the films or not, they were very tight, most of them were well shot and acted. This is a festival I would come back to again and again. (That’s a hint Jon…)

I want to thank Jon and everyone who worked on the film festival for making me feel so welcome, and taking such good care of me and Moses.

A special side note to the staff at the Hotel Monaco in DC – Thank you for taking care of Moses and treating him as if he were you own. I have stayed in “dog friendly” hotels before, but you all went above and beyond what I have ever seen. You all are the best and I will tell everyone I know about your hotel whether they have pets or not! A special thanks to Kimberle Reid and Awet Sium, you two are the best!

I am in Connecticut tonight for a work shop and then the next stop will be the Rappahannock Film Festival in Virginia. This is the first year of this festival and I am looking forward to it.

It has taken me a little longer than normal to adjust to the road again. I am somewhere between west coast and east coast time so my sleep schedule is kind of erratic. Since I am in Pennsylvania right now the time thing is not really helping me. Moses is having a tough time adjusting as well. I think this week we are finally back in to it.

That’s it for right now. Starting this weekend the schedule will really start to pick up.

Other stuff….

I still have dates available, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I am thrilled that Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out. Also check out my other sponsors, Pollard Design (www.pollarddesign.com), Zoom Studio (www.zoomstudio.com), The Indy Film Co-op (www.indyfilmco-op.org) and Cheezy Flicks (www.cheezyflicks.com). All great people and great companies.

The first two Workshop DVDs are up on my site, www.angryfilmmaker.com, (and Film Baby’s) and they are ready to fly off the shelves. They are selling pretty well out here on the road. Also check my site for my Internet Specials.

It’s time to hit the road again.

Talk later.

Kelley

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

Screenwriting Conversation #2

2008-09-10T13:06:00.000-07:00

Hey Everybody,

Sorry I am really slow on this post, I have been doing a lot of driving since we last talked. I am in Baltimore at Creative Alliance, the tour has definitely begun. I will try to be better about posting weekly while I am out on the road.

So here is part two of my conversation with William Akers. I keep screwing up the name of his book, it is, Your Screenplay Sucks! 100 Ways to Make It Great!

I am having problems with the formatting so forgive me when it comes to Teddy's quotes from Body Heat. William sent them to me correctly, they just don't want to post properly on this blog.

What hit movie do you think really has a lousy screenplay?

Can’t be done.

Well, the public (and some producers!) thinks movies don’t need great scripts. Dim bulbs that they are, they don’t realize that the actors don’t make up the words as they go along. Ha. You want to see how important the script is to an actor? Watch the Oscars. See what happens when an actor decides to deviate from the TelePrompTer! They fall smack on their ass. It’s pretty funny. Yet, actors almost never thank the writers. Ingrates.

You have to have a great script. I was on the board of the Nashville Film Festival and it was staggering how many terrible movies were submitted. Independent filmmakers work so hard to raise the money, and when they get their financing, they think, “Hey, we can make the movie now!” when what they should do, is ten more drafts. I feel so bad for the actors and crew, standing in the cold, making a movie that no one will see because the writer / producer / director didn’t take the time to make the script bulletproof. I have an all day seminar I do for filmmakers, about how to get their script in shape to shoot. Just because you have the money, doesn’t mean you’re ready.

What advice do you have for people who want to write a screenplay?

1.) Don’t.

Teddy, the rock ‘n roll arsonist in BODY HEAT, said it nicely...

TEDDY
I got a serious question for you. What the fuck are you
doing? This is not shit for you to be messing with. Are
you ready to hear something? See if this sounds familiar.
Anytime you try a decent crime, there’s 50 ways to fuck up.
If you think of 25 of them you’re a genius. And you’re no genius.

Later on, he says...

TEDDY
I hope you know what you’re doin’. You better be pretty damn
sure about it. If you ain’t sure, don’t do it. Of course, that’s my
recommendation anyway -- don’t do it.

2.) Spend all that time wasted on writing, in bed, screwing your spouse. Imagine how much happier everyone will be. The world won’t have to read another screenplay and your honey will be smiling constantly.

3.) Buy my book. Seriously, it’s worth the money. One guy told me that the table of contents was worth the price of the book. The book is a checklist, and it will keep you out of trouble and improve your writing.

What advice do you have for people who want to sell a screenplay?

Write something that someone will want to pay to SEE. Just because you think your stupid, asinine, dumbass idea is a swell idea for a movie, doesn’t mean you’re going to be able to sell the puppy. It’s the entertainment business, after all. It’s not creative unless it sells. Try to find something that satisfies your inner need to create, but that is also something that you can get money for. It’s much more difficult than you suppose. A poor idea is like dry rot, as you can spend all kinds of time putting trim on the house, but if the framing is no good, the thing is going to collapse and you will have wasted your time.

And you have so little time. So incredibly little time, you can’t waste much of it going down the garden of forking paths.

After I write my screenplay, how much should I sell it for? (I have really been asked this question a number of times.)

Whatever they will pay. Seriously. Take the money. Write another script. Be happy someone wanted to buy what you wrote. You’re lucky as can be, so don’t be a snobby jerk and refuse because the money is not good enough.

Guild minimum to get the health insurance is around $32,000. Try to get paid enough to get the insurance. But, if they want to give you $1,500, take it. Just let them make your movie. Buy my book. All this is in there.

If so many people are writing screenplays how come we don't see better movies in the theaters?

The wonder is not that we have so many bad movies, the wonder is that we have any good ones at all.

It’s really, really, really hard to make a good movie. I had a teacher in film school, Art Murphy, who said that if you have a perfect script, give it a “1.” A perfect director, also gets a “1.” Same for cinematographer, editor, actors, marketing plan, etc. So, the formula for a movie is: 1 x 1 x 1 x 1 x 1 x 1 = 1... you end up with a really good movie. But, if, somewhere down the line, someone falls down on the job, say, the editor, and he turns in a .5 piece of work... well, the formula changes a bit. 1 x 1 x 1 x 1 x 1 x .5 = .5 And you have a crummy movie. Basically, it’s not easy.

It’s easier to marry money. You can make more money in seven minutes than you can earn in your entire lifetime.

Have you gotten any fan letters yet from your book?

It’s been incredibly satisfying to hear that people are finding Your Screenplay Sucks! to be helpful. I’m a teacher by nature, and I wrote the book to help people. One guy in Toronto wrote that he’d read every screenwriting book there was, and mine was one the best. That was lovely.

Any mail telling you you're full of shit?

So far, no.

Why should we buy your book?

It will help you get laid.

On that note…

Other Stuff.
It’s great to be back on the road again. I am promoting my new book, The Angry Filmmaker Survival Guide: Making the Extreme No-Budget Film, now if only the publisher would get me a few copies…

It looks like I’ll be appearing at 35-50 venues which will translate to 4,000 – 5,000 people on this tour. Over the last 5 years I would estimate that I have been in front of well over 25,000 film students, filmmakers, and film enthusiasts. I think that’s pretty good.

I still have a few dates available, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I am thrilled that Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out.

Also check out my new sponsor, Cheezy Flicks, they have some wonderful stuff on their site www.cheezyflicks.com. If you are a fan of some of the cheesiest movies ever made, you have to check this site out. I mean where else are you going to find titles like The Day of the Triffids and G-Men VS The Black Dragon.

My first two Workshop DVDs are available on my site, www.angryfilmmaker.com, (and Film Baby’s) so what are you waiting for, buy them!

Talk later.

Kelley

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

Conversation on Screenwriting

2008-09-04T08:18:00.000-07:00

Hey Everybody,

Sorry this is so late, I am out on the road so it is a little harder to post when I am supposed to. I drove 1800 miles in just over 2 days so I am a little tired.

Anyway…

I finally got a chance to talk to talk to William Akers about his book, Your Screenplay Sucks! 100 Ways to Fix it. I thought you’d be interested in what he had to say.

Tell me a bit about yourself.

I’m tall, dazzlingly handsome, and do not enjoy walks of any kind, even on the beach. As Elvis replied, when the reporter asked him what kind of girls he liked, he said, “Female, sir.” Oops. Wait. Wrong interview. Sorry.

I teach screenwriting and filmmaking at Vanderbilt. I’ve been writing and selling screenplays for quite a while. I’ve sold spec material, pitches, and have been hired to write by producers in Hollywood. I critique scripts for writers all over the world. Now I’ve got this nifty book I’m trying to peddle.

How long have you been writing?

For money, since around 1986. I sold the first script I wrote, and it was off to the races.

How long have you been teaching writing?

Thirteen years. Maybe longer. I’ve sort of lost count.

Why did you write this book?

Self defense, baby. I’ve been critiquing screenplays for a long time, and I found that beginning writers all make the same mistakes. Over and over and over and over. So, I thought to create a checklist so the writer could do all this boilerplate stuff I had to tell every client about, and then send me their script so I could hammer them on structure and character instead of “don’t have character names that rhyme,” “take out thes and thats,” “make your prose crystal clear,” and “beware of research...” The book’s voice is my voice. I dictated the first draft, so it’s a breezy read and, for a screenwriting book, pretty funny.

I also wrote it to help people. Someone writing in Topeka who has no contact with Hollywood, is going to make a half dozen fatal errors in the first ten pages of their script, and those mistakes will stop a reader from reading. Six months spent writing a script, and the reader gets to page ten and gives up. That’s really why I wrote it, so the reader will keep reading.

What are the 2 biggest mistakes that most screen writers make?

They don’t have a breathtakingly original, wildly creative, non-derivative idea. They put the backstory in the first act. They don’t take the time to pare down the scene description and dialogue to the bare stark-white bones. They have character names that rhyme or start with the same letter. Their bad guy is poorly constructed. They don’t separate out the characters’s voices. They didn’t throw out the first twenty pages. They don’t have a clue how the motion picture or television business operates. They are arrogant and think the rules don’t apply. They argue when you give them notes. They don’t keep the reader in mind when they are writing. Those’re probably the top two mistakes.

What's the funniest mistake you have seen someone make in a screenplay?

Obscene typos are always delightful.

What makes a good script?

One that grabs you by the throat on page one, and never, ever let’s go. It’s terribly difficult to do. The idea has to work like a rocket sled on rails and then after that it does get slightly easier. The prose HAS to be tight as a drumhead. The dialogue MUST be separated out -- each character has to sound only like that guy and no one else. Preferably like no one else in the history of the movies! Check out Ellen Page’s dialogue in JUNO. Nobody ever talked like that. Snagged the writer an Academy Award for her industry. Also, the writer needs to have a voice, so the reader says, “Hey, this dude really knows how to fuckin’ write.” Lord, it’s difficult.

What's your favorite screenplay? Why?

Lately? STEALING CARS by Will Aldis. Hands down, best thing I’ve read in eons. It’s a spec that should get made next year. It’s got it all, great characters, scenes, movement, a stunning story, killer dialogue... the whole package. You know what’s a good script? ROCKY is fabulous. Stallone really understands scene construction and dialogue. Anything by Preston Sturges or Samson Raphaelson. CHINATOWN, duuh. TO KILL A MOCKINGBIRD. I like WEDDING CRASHERS. Hmmmm. Trying to think of people who have talked to my screenwriting class... DIE HARD, PLAYING BY HEART, those were superb. 8 MILE. Oh, yeah... you can’t get any better than ORDINARY PEOPLE.

What's your favorite film not from your favorite screenplay?

Most of my favorite films, I’ve never seen the scripts.

I’ve split the interview in to two parts, so if you want to find out what happens you’ll have to come back next week. In the mean time, check out his website, www.yourscreenplaysucks.com .

Other Stuff.

I am out on the road on tour (and still looking for sponsors).

It’s great to be back on the road again. I am promoting my new book, The Angry Filmmaker Survival Guide: Making the Extreme No-Budget Film, now if only the publisher would get me a few copies…

It looks like I’ll be appearing at 35-50 venues which will translate to 4,000 – 5,000 people on this tour. Over the last 5 years I would estimate that I have been in front of well over 25,000 film students, filmmakers, and film enthusiasts. I think that’s pretty good.

I still have a few dates available, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I am thrilled that Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out.

Also check out my new sponsor, Cheezy Flicks, they have some wonderful stuff on their site www.cheezyflicks.com. If you are a fan of some of the cheesiest movies ever made, you have to check this site out. I mean where else are you going to find titles like The Day of the Triffids and G-Men VS The Black Dragon.

My first two Workshop DVDs are available on my site, www.angryfilmmaker.com, (and Film Baby’s) so what are you waiting for, buy them!

Talk later.

Kelley

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

The AF Work Shop DVDs are here!

2008-08-27T07:26:00.001-07:00

My computer has been down the last 2 days, bad timing as I am hitting the road in a few days... Sorry this is late.

Hey Everybody,

Two of my Work Shops are now available on DVD. Making the Extreme No-Budget Film and Sound Design for Independent Films.

Making the Extreme No- Budget Film

In 2002 Kelley sent 100 letters to 100 Friends asking for $100 to fund Kicking Bird. He raised $6000 and shot for 18 days.

In this 2 ½ hour workshop Kelley will walk participants through the entire process from scripting through post production. Kelley will discuss writing with your budget in mind, how to get the most for very limited resources and asking the right questions to get free stuff.

“I am constantly being asked questions about the pre-production process. These questions lead me to believe that a lot of filmmakers don’t really understand the process, and how it can save them time and money while they’re making their film.”

Stuff happens during production that causes changes to the way you had planned to tell your story. Deal with it.

Sound Design for Independent Films

As the Sound Designer on Gus Van Sant's films, as well as animated features, network television specials and his own features, Kelley Baker has a unique approach to the Art of Sound Design. Whether you're working with a huge budget, or a non-existent one, sound is the one area of filmmaking that always gets little attention, until the very end. "We'll fix it in the mix..." is an often heard expression, but what does that mean?

As a sound designer it usually means you're in trouble. There's never enough money or time to do sound right. So what do you do?

Kelley will share his insights, and show you creative solutions to many sound problems.

One of the most important things in any movie is sound. And the most important sound? It's the dialog, stupid! If you can't hear or understand the dialog, then you're hosed. You've got nothing. It doesn't matter how pretty your pictures are, how good the acting is, what a terrific music score you have, or how clever you think you are. If you can't hear or understand the dialog, you've got NOTHING!

Check out www.angryfilmmaker.com/buy.php to find out more.
Other stuff.
Internet Special!!!!

Check my Internet Specials page, http://www.angryfilmmaker.com/internet_special.php

Right now you can pick up Kicking Bird and The Angry Filmmaker Survival Guide Sound Workbook for only $20 with no shipping and handling charges. That’s a $9 savings! Check this page every week and see what’s on special.

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 don’t forget to check out Film Baby (www.filmbaby.com), and my other tour sponsors.

As always,

Talk later,

Kelley

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

Don't listen to business advice from people not in the film business.

2008-08-18T22:15:00.001-07:00

Your Angry Filmmaker Tip of the Day.
1. This business is not for the faint of heart, I don't care how much you think you know.
- - from The Angry Filmmaker Survival Guide (coming really soon).

When I first got into the business, my accountant gave me some very prudent professional tax advice in November: "tell your clients not to pay you until after the first of the year. Then take out a loan for 90 days and invest in equipment. Then after the first of the year, you can pay off the loans with the money you're owed. Take the tax deduction for the previous year, and you'll be in good shape." It made sense to me and everyone else I talked to because we all went to art school! I almost went bust because of that advice!

Right after I bought all of this equipment, business dropped off severely. The film business can be seasonal, especially if you are outside of LA. In Portland, the film business usually dies off around Thanksgiving and doesn't start picking up again until mid to late February. Sometimes it stays busy through the end of the year, but usually it doesn't.

A lot of the corporate and commercial people that hire us need to get things done and money spent before the end of their fiscal year. Then they take the holidays off. Why not? They have steady salaries. After the first of the year, they need to put together budgets and plan for the rest of the year. This is a cycle I have seen over and over. There have been exceptions to this, but rarely.

By the time I got paid on what I was owed, I had other debts that had accumulated, and guess what, gang? Banks will not loan you money when you need it! They only loan you money when you have money. (Don't get me started here, I hate bankers.)

Anyway, I spent 9 months in hell trying to pay off people and pay my bills, and I had a bunch of equipment that suddenly felt like a burden.

The upshot of all of this is:

DON'T LISTEN TO PEOPLE WHO AREN’T IN THE FILM BUSINESS!

My accountant had the best intentions, he was used to dealing with normal businesses, and we’ve always said, “There’s no business like show business”. That’s why I think they should teach more business classes in art school.

When you do a paying job take some of that money and put it away. I don’t care how much you think you are going to work, there will come a time when no one’s working and you’ll have to live on that savings. And living on savings is a lot better than using credit cards at over 30% to pay your bills.

Other Stuff.

I am heading out on the road on tour soon and still looking for sponsors. With gas prices still ridiculously high I need to do something so that I can continue to tour.

I am excited about the Fall Tour. I am going to be promoting my new book, The Angry Filmmaker Survival Guide: Making the Extreme No-Budget Film. A lot of my old friends are inviting me back and a lot of new places are adding me on to their schedule.

It looks like I’ll be appearing at 35-50 venues which will translate to 4,000 – 5,000 people on the Fall tour. Over the last 5 years I would estimate that I have been in front of well over 25,000 film students, filmmakers, and film enthusiasts. I think that’s pretty good.

I still have dates available, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I am thrilled that Film Baby (www.filmbaby.com) is a sponsor on this tour. If you haven’t checked out their site and their services, you need to do it. They are a great group of people dedicated to helping you get your films out.

I am finishing up the first two Workshop DVDs and they should be on my site, www.angryfilmmaker.com, (and Film Baby’s) in the next 48 hours and ready to fly off the shelves. I’ll let you know when they’ll be up, or you can just keep checking…

Talk later.

Kelley

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

Don't ask. Don't get!

2008-08-13T17:25:00.001-07:00

My apologies for taking so long to post this week, I am slammed! The galleys to my book finally arrived and I am going over corrections. I am hoping that books will be available very soon. I also am finishing up my 2 Work shop DVD’s (Making The No-Budget Film and Sound Design for Independent Films) and their respective work books, and I am still booking the tour. I also have some work for hire in house and did I mention that there have been lots of changes to my web site behind the scenes so my friends at Zoom Studios (www.zoomstudio.com) are teaching me all sorts of new stuff.

I have to thank Jeff Pollard my good friend and brilliant designer (www.pollarddesign.com) for helping me with lots of last minute changes to everything from DVD cover art and disc art, to being there to walk me through the lay out of the book. Jeff, the next round of PBR’s at The Ship is on me!

So let’s get to it.
Your Angry Filmmaker Tip of the Day.
There are some people who hate asking their friends for money. These people are not going to be making movies any time soon.
- - from The Angry Filmmaker Survival Guide (coming really soon).

When I say this, it’s not really about asking people for money. It’s about asking people to give you stuff. Money is good and all, but if you have a problem asking friends and strangers for things you need for your movie, you are going to have a rough go getting a movie made.

I say this over and over again in my work shops. People want to help you make your films. They really do. But they need to be asked. If you can’t ask for things with out feeling embarrassed you’re not going to get far.

What is the worst that someone can say to you? That would be “no”. They won’t yell or call you names, they’ll just say no. And you know what you do? You thank them for considering it and then ask if they know of anyone else that might be able to help? Always ask people, whether the say yes or no, can they think of anyone else who could help out. You will be amazed, sometimes they can’t or won’t help, but sometimes they will turn you on to a person that helps put it all together.

I will ask people for just about anything if I need it to make my films. I have no shame and I am always polite and sincere when I ask. Do I like doing this? I think “like” is the wrong word. No one likes cold calls, but you learn to do it if you want to move forward. People can’t help you if you don’t ask.

What I used to do when I was starting out, and sometimes I’ll still do it, is to write down what I want to ask for and why. I keep that next to me as I’m talking to someone on the phone to make sure I cover everything I need. I also make notes during and after the call. I want to remember what was said and what was promised. Do I need to follow up? What are the names and phone numbers (or emails) of other people they suggested? Make notes about all of this stuff.

I also put together a list of stuff I need for my films and send a copy of it to all my friends and colleagues, telling them that if they know anyone who might have some of these things to please get me an introduction. This has also worked really well.

So remember, if you really want to get your movie made, don’t be afraid to ask. It does get easier over time.

Other stuff…

The Fall Tour is coming along great, so if you are interested in having me come to your college, university, media art center, independent book store, or even to your house for dinner, drop me a line (angryfilminfo@aol.com) and let me know.

I hope to have the work shop DVDs and new work books up on the website next week for purchase.

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, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

Talk later.

Kelley

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

Film Baby Joins Forces with the Angry Filmmaker

2008-08-06T16:43:00.001-07:00

I am happy to announce that Film Baby (www.filmbaby.com) has become a sponsor for my Fall Tour. Film Baby is an on-line DVD distributor and a company I have been impressed with for a long time, I am thrilled that they have signed on.

According to Jamie Chvotkin, “Film Baby is very excited to be supporting Kelley's tour and strongly believe in the message he preaches. It is rare for someone to be able to speak about the truths in the film business and give away some priceless information that every independent filmmaker needs to know.”

What does all this mean? In addition to my films being available through Film Baby, you will be able to read my blog entries, check out my tour progress, and submit a question to Ask The Angry Filmmaker. I will answer a couple of questions per week on various topics. This ought to be fun!

I encourage you all to sign up at Film Baby (it’s free) and check out the kind of films that they handle. If you have a film and you’re looking to get it out to a wider audience they offer a lot of good services. Are they going to sell thousands of copies of your movie while you sit at home doing nothing? Probably not. But if you’re willing to work with them they’ll help you get your movie out there and help maximize its potential. They have some really good people over there that’ve been doing this for awhile.

I am still looking for additional Tour Sponsors (even though the price of gas is going down a bit, this is still my biggest expense on the road), so if you are interested in sponsoring me, or sponsoring a single tour event please let me know. Drop me a line at angryfilminfo@aol.com.

The booking of the Tour is going great! I start off in Baltimore on September 9th at Creative Alliance for a screening (and a workshop on September 10th). Then it’s off to the DC Shorts Film Festival (Sept. 11-14th), from there I will spend the next 2+ months doing workshops, screenings and guest lectures working my way back to the West Coast. You can check my site (www.angryfilmmaker.com) to keep track of my schedule.

As most of you already know, in addition to promoting my films I will also be promoting my new book, The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film. The Tour is filling up but I still have some open dates. If you want to book me drop me a note and I’ll happily come to your media art center, university, college, art house theater, independent bookstore or even your house for dinner.

I’ll let Jamie get the last word in here.

“If you are thinking about releasing a film, you would be remiss for not following Kelley's plan. Heeding Kelley's hard-won knowledge, you will find more doors will open for your film.”

As always,

Talk later,

Kelley

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

What is Foley and Why Should You Care?

2008-08-04T09:13:00.001-07:00

What is Foley and Why Should You Care?

Here's everything you need to know about Foley.

Foley effects are sound effects that are easier and more efficient to perform to picture. You project the movie in a studio and one or two people actually perform the sound effects to the picture. The sound effects are recorded live and are used in the final movie.

The most common Foley sound effects are foot steps and clothing rustle. Some specific effects are actually much easier to do in Foley than cutting them individually. In Finding Forrester, there were lots of scenes with basketballs. The main character was a high school basketball player. It was much easier for us to have the Foley artists do the basketball dribbling for the movie then to sync each basketball hit by itself.

Foley is used mostly when you have to deliver a foreign mix of your movie. You use Foley footsteps when you can't use the footsteps on the production recordings because you have to remove the dialog so that it can be dubbed into whatever language a particular country uses.

We had the basketball effects on the dialog (or production) tracks and they were in sync. If there was any conversation going on during any of the dribbling, then when it came time to deliver the foreign version of the sound mix, we couldn't use any of the production basketball effects. There was dialog on it.

In the case of Far From Heaven, the Todd Haynes film, Todd wanted us to do all of the Foley footsteps so they sounded like they came from a sound library that was put together in the 1950s. In fact, he wanted all of his sound to sound like it was from the 1950s and this was a studio picture. That was a challenge.

Any time you do a period film it's a challenge. I had to find telephone effects with bell ringers, typewriters, and real V8 automobile engines. Most sound libraries don't have these effects anymore. And finding the real thing can be tough.

As a sound designer, you learn to be resourceful trying to find some of these effects. We went out and recorded some old automobiles to get some realistic sounds of heavy old car doors closing. I mean, let's face it, a 55 Buick door certainly sounds a lot different from a Honda door.

But back to Foley. If you're doing a small independent movie, the odds are you're not going to use much Foley. With Kicking Bird, I did all of the Foley myself with two of the effects editors, and we recorded it straight into the Pro Tools. I watched the movie on a monitor and performed the effects right in the editing room. I knew exactly what I needed, so I just did the effects that were absolutely necessary.

I had decided all of the running sequences would be done to music so I didn't even worry about doing footsteps for the runners. That would have driven me crazy if I had to do all of that. I just figured out what I needed to get the job done and did exactly what I needed. Since I was going to be doing some of the mixing myself, and after 20 years of doing this, I knew what I needed and what I didn't.

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

Other stuff.

Internet Special!!!!
Go to www.angryfilmmaker.com and check out my films. Between now and August 10th, 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.)

As always, feel free to link to my site and you can subscribe to my blog. So what are you waiting for?

The Fall Tour is coming along great, so if you are interested in having me come to your college, university, media art center, or even to your house for dinner, drop me a line and let me know.

Talk later.

Kelley

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

Short Films vs. Features and Other Stuff

2008-07-29T10:40:00.001-07:00

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

2008-07-25T11:21:00.001-07:00

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!

2008-07-21T07:23:00.000-07:00

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^thin 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