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A Challenge to Filmmakers

Steve Sherrick

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It's often discussed how there are just a few basic story lines that can be found in all of literature, films, etc. Polti breaks this down into 36 dramatic situations. But of course, we know that it's all in the details that makes something elevate to the realm of great literature, a great film, etc. What I see transpiring in the world right now makes me think there is a wealth of new storytelling about to emerge. I challenge all filmmakers on this forum to be a part of this wave of new stories and make films that have an impact on audiences.

As a camera forum, we naturally talk about the cameras and other tools used to make films. Perhaps sometimes we talk about the tools a little too much and not enough about how we're using the tools. I understand that everyone loves a good camera battle once in a while, or wants to voice an opinion about the way a camera company conducts their business. But it's so easy to get lost in the technological sea and forget the "WHY" we make films or other art. Watching the behind the scenes of Richard Linklater's Boyhood it was so refreshing to see a small crew shooting film, with a single video monitor tap for the director. They look like they are making a film the way I used to make films with my college friends. Just a few of us passionate about what we were doing but having fun. Lean filmmaking.

The point is, those who are in this for the filmmaking, the storytelling should feel that whatever you have for a camera is a blessing really. Unless you have a business that rents gear to earn a living, embrace the tools you have, wear them out, take them to the furthest point you can until they hold you back creatively and then look at other options available to you. But never let the camera alone be the only reason you don't make films. There are so many great examples of filmmakers that have made amazing work using what they had access to or what they could afford to get access to. They lived filmmaking 24 hours a day. That's sometimes what it takes to make something you are proud of, that has your blood, sweat, and tears engrained into it. Don't let technology rule you, rule the technology you are fortunate enough to use.

And this is not a lecture. This is a pep talk for myself as well. I sometimes get lost, and forget why I even chose this career. And then I see a great film and I remember all over again. I may never make a great film but I've seen the work from some of you and I see potential for great things to come. So, if you have a Red One, Scarlet, Epic, Dragon, Super 8 film camera, DV, iPhone whatever you have, please take my advice and go make films. Don't ever let someone tell you your camera isn't good enough. Instead, find likeminded people who are as passionate about filmmaking as you are and go make something. You can't get better without filming all of the time.

Finally, as someone who has suffered from fear of failure for years, I understand those who may experience this type of thing themselves and that may prevent them from taking chances, of letting failure eventually be the driving force behind success. To this I say, the greatest thing to fear is not failure, it's regret. Regret is something we take with us when we die. Failure is something we can leave behind.
 
Steve - very nicely warm and sincere. Some really great thoughts. The "fear of failure" admission was particularly meaningful for me. Thanks for taking the time to say this out loud.
 
Well said. Thank you for the inspirational reminder.
 
Good post Steve. I've never been fearful of failure -I'm hopelessly optimistic. But it's put my young family in peril, which is not any way to live. Thankfully my wife is awesome, believes in me, and we always live to fight another day (knocking on skull). We keep believing we're gonna break on thru sooner or later!

The challenge up here in Canada is there's significantly less folks interested in investing in feature film. It's a very conservative market, and let's face it -there haven't been any huge hits to justify an ROI. The majority of features made up here are US projects taking advantage of the CDN exchange rate, and the tax credits. With upward of 40% net on the tax credits, plus 20% exchange rate on the dollar, there's a lot of reason$ to come and shoot here...

Having Telefilm Canada is a double edged sword: really mature guys like Egoyan or Cronenberg are able to tap Canadian Heritage dollars via Telefilm to fund their features, while the rest of the country's emerging filmmakers vie for the few million left over. Feels so much like a lottery...are they going to pick me this year? How much lobbying do I have to do in order to get them to assist with 20-30% investment? But it usually triggers broadcast presales and with tax credits we get so much closer to green light world compared to development hell. But it also means having to produce for much less than you really need, and certainly no real P&A budget to speak of.

On the other hand guys like Villeneuve and Vallee have had Telefilm nurture them and now they've got legitimate careers working with some of the very best in the world. Dallas Buyers Club was a great film...shot in 20 days? Prisoners took Villeneuve to another level and now he gets to do Blade Runner 2 with Harrison Ford. How freakin' cool is that?

These are the inspirational stories that keep us going. So while we haven't done a feature in a couple years, the great thing is we've managed to get some really cool projects in the stable ready to go. One of which we've been told will get Telefilm for the coming fiscal.

Then we've got another we will shoot in Thailand which bends the action genre but adding nuance. So are we optimistic? Definitely, and we've got Red in our corner.
 
Jeremy, sounds like you are on a great journey. Like you I have a very understanding wife who believes in what I'm doing, even when I have those moments of doubt. Great to hear you have some projects that are coming together and I wish you luck with them. Keep us posted on the development.
 
Pretty much I guess, Me and my EX1r may be a bit crap at getting a film made but I try and shoot stuff and edit it together when ever I can, I've been told by several people that seem to think you can't make a film with an EX1r but I've shot enough with it to know I can get an acceptable result so long as I focus on the script and the acting.
 
I shoot with all of my cameras HDV HD and now 4k MX when people ask what did I shoot with? i say how did you like the movie? Because it doesn't matter my craft does. if I say canon GL1 what would they say. Awww man it would have been much better if you had a Red or alexa. These new age film makers need to learn the craft and stop wanting everything in auto point and shoot mode. I was like that until I researched real filmmakers and went to school. if I fail...learn from it and keep moving its a part of growing.
 
We're also starting our classes tomorrow for the Adam Beach Film Institute...indeed what Tony says about cameras is apt. While the students will have access to working Dragons later on, their very first assignment will use DSLR, iPad, and/or mobile phones or whatever they have access to for image capture and framing to tell a story with pictures. It's simple but it goes back to the maxim: storytelling and acting are key. Painting with light will be another exercise, but we're about story first, then building up the other skill sets.

We've got some pitch projects for them to work on under our guidance, and in the end they'll have actual shorts or what have you to show for their 3 months with us...then we hope they'll have enough jam and determination to take it to the next level and work on one of our feature projects this summer.
 
Steve, nice post. I agree 100%. In my experience, It is a recurring theme in discussion I find myself having with PA's and others that want to be successful in the film business. everyone wants to be the director, well, pick up your phone and start directing, cut your project and put it up on youtube. no more excuses.
 
cut your project and put it up on youtube. no more excuses.

There are plenty of excuses, Writing a good script isn't easy getting good actors, that's not easy location scouting... that's quite a lot harder than you'd think it is and then getting people to work for free and be as passionate about the project as you are maybe not as difficult as location scouting or writing a script but it's up there underneath finding good actors.
There's bigger issues in making a film than having a camera, as I've learned. You get people together and then they don't show up, you write a script and you can't figure out where to shoot it etc.
I like the get out and shoot spirit as much as anyone but no excuses? There's some.
 
Steve, your point is a good one and I agree with it.

I think the toughest thing to do is make a film that people can take seriously (even if it's a comedy!). Mind you, in this business, quality doesn't matter anymore. It's the promise of what the next film will bring that is the focus, now.

And the public has a short memory - and it forgives mediocrity too easily. Think about it: junk food, junk films. People have to eat and many don't care about quality. Yes, that soft drink made you feel like shit, but you'll get thirsty again and you'll forget what happened last time. Rinse, repeat.

So how do you know if you've made a quality film? Well, don't look at me. I'm not a script writer. Then again, some of the most respected writers turn out poor work. Anyway, look at The Simpsons for inspiration. Both the good episodes and the crap ones. Why were the crap ones crap (e.g. A Tale of Two Springfields), and why were the good ones good (e.g. $pringfield)?

Why was Twin Peaks so damned good but Millennium sadly wasn't? Why was A New Hope so good, but Revenge of the Sith so very, very bad?

A clue: don't force it. Another clue: don't be indulgent, but let the audience indulge.
 
Well we absolutely killed it today up in Ottawa at CMPA's Prime Time, in large part due to Adam Beach's incredibly heartfelt speech before more than 500 producer delegates. He made people cry, got a standing ovation, and we were immediately inundated with people wanting to help us and do something about production with our people and stories.

It was quite simply an awesome display that humanity and compassion is alive and well. A huge shot in the arm for the film institute...and I guarantee we will be shooting a ton of stuff in the next 12 months.
 
Well we absolutely killed it today up in Ottawa at CMPA's Prime Time, in large part due to Adam Beach's incredibly heartfelt speech before more than 500 producer delegates. He made people cry, got a standing ovation, and we were immediately inundated with people wanting to help us and do something about production with our people and stories.

It was quite simply an awesome display that humanity and compassion is alive and well. A huge shot in the arm for the film institute...and I guarantee we will be shooting a ton of stuff in the next 12 months.
That is great news! Sounds like you guys are really putting some great things together. Can't wait to see what you turn out. Keep us posted.
 
stopped caring about gear a while ago and started focusing 100% on story telling.

In fact my rule, I won't even tell people which camera I shot on. I don't think it matters and shouldn't matter
 
stopped caring about gear a while ago and started focusing 100% on story telling.

In fact my rule, I won't even tell people which camera I shot on. I don't think it matters and shouldn't matter

I will admit to you that I should spend more time reading and writing scripts than I do posting on internet forums. No question about that. How many storytellers know how to be compelling in the same way as Roald Dahl or Dan Brown or Michael Crichton? Not many.

But, a filmmaker that doesn't care about equipment? I don't believe it. I mean, okay, I can believe it. But somebody on set has to care, if not you or me. Does the focus puller not care about what kind of FF he uses? Really? I don't believe that. Does the colour timer not care that lenses are matched? Further: does the director not care about the quality of performances? Does dialogue not matter? Can Uncle Reg, who spliced together your family's Super-8 home movies, take charge of editing in exchange for a cup of tea and some Walker's digestives? Or is film production only about the 'story' - which is the movie industry's equivalent term to 'climate'?

And yes, gear does matter - for the crew. The audience doesn't need to care, anymore than it needs to care about how much money each film makes during its opening fucking weekend.
 
I will admit to you that I should spend more time reading and writing scripts than I do posting on internet forums. No question about that. How many storytellers know how to be compelling in the same way as Roald Dahl or Dan Brown or Michael Crichton? Not many.

But, a filmmaker that doesn't care about equipment? I don't believe it. I mean, okay, I can believe it. But somebody on set has to care, if not you or me. Does the focus puller not care about what kind of FF he uses? Really? I don't believe that. Does the colour timer not care that lenses are matched? Further: does the director not care about the quality of performances? Does dialogue not matter? Can Uncle Reg, who spliced together your family's Super-8 home movies, take charge of editing in exchange for a cup of tea and some Walker's digestives? Or is film production only about the 'story' - which is the movie industry's equivalent term to 'climate'?

And yes, gear does matter - for the crew. The audience doesn't need to care, anymore than it needs to care about how much money each film makes during its opening fucking weekend.

you should def know how to use the tools..but shouldnt focus on buying them and keeping up with the jones.
rather use what u can and get creative...

I find lacking certain things actually strengthens your skill set
 
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