This can take years

[a whitmer]

When I first got into film years ago, rumors were afoot that some projects could take years to complete. Years?! How is that possible? Turns out those possibilities are endless. I think my longest yet-to-be released film is now in its 6th year. Others have hit the two-year mark, the three and four-year mark, and the shelved-indefinately mark. And then there are those that are just jinxed, going into development and pre-prod again and again with the same results: Abandoned, and given back the writer to try all over again. Or turned into a short. Or the filmmaker just lost the original enthusiasm and/or vision after snafus and delays piled up.

Delays can wear many hats. The good delays are often for good reason, and in the film's best interest and merit. Rushing for the sake of fests or moving on to other projects only diminishes the investment each participant made to the whole: that nuance in lighting, that last-minute adjustment to costume, or that symbiotic connect between director and actress. Can't rush that stuff, and sometimes ya jus' gotta digest it a while. Or a year. Or two.

Honestly, I wonder how films get made at all.



Then there are those that go from concept to release with narry a hitch. Six months, often less, and a solid finished product that rocks the fest circuit. How did they do that? I guess sometimes the stars are alighned just right. This doesn't make the 6-month film better than the six-year film by default. Whatever journey the project needs to be a memorable and entertaining story, than that's what we afford it. I think living in the nano-second digital age makes six months and three years seem like an unbearable eternity. All things considered, the technology has not made the process go any faster. It's added more options, but not much else.

Funny, that. And I could be wrong.

 

[Christoffer Glans]

Honestly, I wonder how films get made at all.

Money

 

[Luke Kokinos]

I feel your frustration. It always bugs me when I meet people who think film making is just a bucket of laughs, and fun times with cast and crew on set. It has it's share of thorns with the roses. I produced/directed my first feature length film when I was fourteen, and by the time production ended, and I'd seen the footage, I knew it wasn't worth releasing. I wrote my second feature when I was thirteen, shot/directed/produced/edited it when I was fifteen, and it's still in post-production. And every time someone asks me "when's it coming out?" I tell them "when it's better." Being an artist takes time, years of slamming your head against a wall, fearing something won't be finished, or that when it is audiences will hate it. That's part of the process. In time, production runs smoother, and hits fewer delays, but producing a film is only half the battle. Even for those people with the six-month turnarounds from concept to final cut, it doesn't mean they got it easy, it just means they did it quicker. And if they can, more power to them, and for those who can't, hell, it's all about the finished product.

Not sure if we're talking about all the same things, but I wanted to rant.

 

[David Ellison]

If you're not into the craft of making films it's possibly the worst job in the world.

 

[a whitmer]

Money

Agree in principle, but for some projects even that doesn't work, no matter how much you throw at it. There are some core problems, like a bad story to begin with, that will drag the film and all its millions into the pit.

 

[Wayne Morellini]

I feel your frustration. It always bugs me when I meet people who think film making is just a bucket of laughs, and fun times with cast and crew on set. It has it's share of thorns with the roses. I produced/directed my first feature length film when I was fourteen, and by the time production ended, and I'd seen the footage, I knew it wasn't worth releasing. I wre my second feature when I was thirteen, shot/directed/produced/edited it when I was fifteen, and it's still in post-production. And every time someone asks me "when's it coming out?" I tell them "when it's better." Being an artist takes time, years of slamming your head against a wall, fearing something won't be finished, or that when it is audiences will hate it. That's part of the process. In time, production runs smoother, and hits fewer delays, but producing a film is only half the battle. Even for those people with the six-month turnarounds from concept to final cut, it doesn't mean they got it easy, it just means they did it quicker. And if they can, more power to them, and for those who can't, hell, it's all about the finished product.

Not sure if we're talking about all the same things, but I wanted to rant.

If you have no expectations, but then the audience might be the ones not laughing, unless they are laughing at the rubbish on screen. But honestly, don't we just go overboard, but those guys with talent going direct to streaming might make money, like the direct to video tape market did years ago making el cheapo but fun films. But of course, we be seriouse dudes here, wanting the quality (I wonder if the Lawrence of Arabia rights are up yet.... )

 

[a whitmer]

If you're not into the craft of making films it's possibly the worst job in the world.

It can suck a little - or a lot - even if you love it to pieces. After eleven years of trial and tribulation, though, I'd keep doing it.

aw





My screenplays have won awards, but more impotant is that the films made from them have won awards. Best of show, best actor and actress, best cinematography, youth and children's awards, artistic vision and outstanding excellence, to name a few. As screenwriting is a collabortive art and science, these are the awards, nominations and accolades that matter to me most.

 

[Marc Wielage]

Unless you cut a deal with a distributor before going into production, there's always the risk that a movie is going to sit on the shelf for months or years before finally getting sold. I have seen several pretty big indie films with $1M+ budgets sind up unsold for years and years, some very good ones. A prime one I worked on was All the Boys Love Mandy Lane, which was a big hit at Sundance, Toronto, and SXS in 2006 and then sat on the shelf for 7 year because of various issues. It finally came out on VOD and home video in 2013.

I know of several smaller films that went through various levels of hell, some never really getting a release at all in America but being sold for a song in various foreign countries. It's a very tough market, particularly if you make a film and don't have a grasp on what distributors will actually pay for these days. There's no problem if you're willing to go it alone and make your own deal with iTunes, Netflix, Amazon, TV syndication, and so on, but it could take a decade or more before you break even that way (if ever).

 

[Christopher Barrett]

Man, I feel your pain. I have maybe the most beautiful thing I ever shot still sitting in the can. After the first edit, we realized we had too many holes in the story (as we shot it) and that we didn't push the actors enough. It absolutely kills me. I keep thinking maybe I can get really creative with the cut or do a voiceover to pull it together. Argh!

 

[a whitmer]

If it's the one I think it is, I'd love a sneak peak, maybe toss in an idea. I have shown the footage on your reel to some folks, and all agree it's dang powerful - and gorgeous. And no dialogue! The images/cinematogrpahy, direction and perfomances are rock freakin' solid.

 

[Peter Strietmann]

I recently wrapped on that took over 7 years to make. Persistence pays off. It may be discouraging at times but you need to stick with it and have no regrets.

 

[Jason Diamond]

We just finished and premiered at SXSW a doc we've been working on for 11 years called 'Made in Japan.' Sometimes thats what it takes. Doc's tend to take more time than narrative films tho.