Jump to content
IGNORED

A filmmakers blog


kerraig UK
 Share

Recommended Posts

One last question in regards to applying to be a runner (for now)... Would you turn up in person to hand over the application? It's better, right? Also, who should I look for at each studio to hand over my application? My biggest worry is that it's just tossed aside or thrown in a drawer if given to the wrong person.

Link to comment
Share on other sites

One last question in regards to applying to be a runner (for now)... Would you turn up in person to hand over the application? It's better, right? Also, who should I look for at each studio to hand over my application? My biggest worry is that it's just tossed aside or thrown in a drawer if given to the wrong person.

It's worth turning up I guess if you can. It's very difficult to say who to go to as it'll be different depending on the size of the studio. By turning up you can ask who would be best to email it to if you can't give it in person. Always shows a bit of initiative.

Link to comment
Share on other sites

Ok, cheers Spudulis! I'll give it a go.

The main places here are TV Stations (ZDF, MTV, DSF, ARD etc) and I'll have to scope out the various film studios here. Babelsberg looks incredible, but I imagine it's the most contested for studio in Europe, so my chances will be minute at best I'd imagine.

When you're a runner, do you work for a specific director or is it for a company?

Link to comment
Share on other sites

It totally depends. Running could mean a lot of different things. If you're an on-set runner you may get put so you're just looking after one person or one department. If you're a runner in post production you'll be looking after various edit suites or whatever at the same time. Or you'll just be given whetever boring job people can't be arsed to do themselves.

Link to comment
Share on other sites

So then, I've decided to embark on an acting career. How do I get cast in stuff?

Sign up to Shooting People and apply for any casting calls you get on there.

You need an agent really but probably won't be able to get anyone good until you've got a few roles under your belt.

Link to comment
Share on other sites

Just wanted to say, I voted for Sign Language through my mate Anthony who I believe was the DOP on it? (Well, he has been on 3 of my films) - I thought it was absolutely wonderful, then my wife checked it out to support it and vote, and she thought it was wonderful too.

We were both welling up at the end.

I posted the link to my Facebook page too, asking people to vote.

A really beautiful film - very jealous! Wish I could write something so simple and sweet...but I always get drawn to the dark side...

Didn't realise it was Spudulis film...

Link to comment
Share on other sites

Its not really my film. I helped out making it, general stuff really, building the signs, helping out on the shoot. I spent quite a bit of time with the editing and grading side of things though and the sky writing bit in the directors cut are effects I did. Don't want to take the credit for the film though. That's mainly down to the very talented Oscar Sharp. We're so proud of it. Its really picking up speed now. Its got thousands of views in the last couple of days and we're nearly back to first in the voting. Everyone who sees it loves it it seems. My parents have been showing it to everyone they know!

Anyway really glad you enjoyed it.

Link to comment
Share on other sites

Not a lot to report at the moment. The latest draft of the script for the Horror is still being written and we haven't yet received the legal agreement from the LA agent on the Scifi. However we have managed to raise about £100k for the horror in the past 2 weeks. The reactions to the prospectus have been very positive

Link to comment
Share on other sites

Hey there.

We had two of our short film scripts shot last week. One a horror/thriller short called Trouble Bound and another called The Greasy Spoon that was shot on RED with money from The Film Council. Can't wait to see how they turned out.

We also have a Manchester based production company heading out to Cannes this year with two feature projects we hope to write. One, a kind of punk rock low-fi sci-fi flick based on a short film we wrote. They're shooting 3d tests for it soon apparently..

The other a story about British lads fighting in Afghanistan and the effects it's having back here at home. They have a treatment for that and backing from some pretty high ups in military... For whatever that's worth when trying to get a flick financed..

Exciting times!

Despin out.

Link to comment
Share on other sites

Exciting news. So how are you working that? Are they going to try to get funding for the film then you'll write the script? Seems a bit of a tricky sell if that's the case. I'd have thought they'd be much more likely to get funding once a script has been completed. In fact I'd be amazed if they got funding without a script.

Link to comment
Share on other sites

Hey there.

To be honest mate, your guess is as good as mine. They only asked for the treatments from us for the time being. Which was fine by us as we're knuckle deep in specs at the moment anyway. So we'll see what happens I guess.

Despin out.

Link to comment
Share on other sites

A woman and her husband came into my hotel 2 nights ago asking to see some rooms, and I was tasked with showing them around.

They were really nice, and In the lift I asked what she did and she works for a film post-production house in Berlin. I asked for her business card which I got, and said I will e-mail her.

I'm going to fire an e-mail today - should I ask outright if there are any runner positions in the company? Or should I initiate conversation first before asking?

Think I might just outright ask later on tonight.

Link to comment
Share on other sites

So still no sign of this agreement from the US agent. been chasing all week but its gone very quiet.

With the horror film, there is a post production facility who are moving into production (this is happening a lot in the industry). They've set up a film fund for a slate of 4 movies for half a million each and they'd like our Horror to be the first film on their slate. I would have to bring a certain amount of investment to the table but we'd most certainly get all the money quicker as a joint effort than with me raising the cash on my own. the downside of course is that i'd lose a large chunk of financial equity in the film as a co-producer. Decisions.

In other news a lawyer friend has stepped forward to offer some free legal advice on my prospectus, which is incredibly kind.

Link to comment
Share on other sites

Meh.

I've missed out on the BBC Sketch show I was up for. As I'm now not working on it, I guess I can reveal that it was the next series of Armstrong and Miller.

According to my agent, I was head and shoulders above any other editor they saw in terms of preference. However, they've been offered a post-production package by a company that includes a staff editor - as in an editor who's staff at a facility and not a freelance specialist in a certain genre. This package is apparently so cheap they can't turn it down.

It's an odd move by them really, sketch shows are made and broken in the balancing of how each show's put together - which sketches go where, how often they re-occur during the series, that sort of thing. It's a complicated process that's not unlike a massive jigsaw puzzle, you were certain that piece should go there, but it just doesn't seem to fit. You have to be able to separate your own personal preference of a sketch from what makes the best possible episode. A non-comedy editor could really balls it up.

Unfortunately, I think it's part of a growing trend in TV post-production. It's been happening in other genres over the last couple of years, it looks like it's now happening to comedy. It's a bit disappointing really. Ah well, another reason to move over permanently into films I guess. :o

Personally, while I'm not massively gutted about losing out - I really like the show but all sketch shows can get quite dull after 4 months - it does now mean I've got a huge hole in my diary with no real work on the horizon for months. That's a bit worrying. I guess it's time for me to hit the phones, otherwise how will I keep myself knee-deep in Creme Eggs between now and Easter?

Link to comment
Share on other sites

not that much under the guidance of a good comedy producer/director surely?

You'd be surprised. Compiling a show is very much a collaborative effort, while there's many things in the edit a good director will be on top of, getting the order and duration of the sketches requires both parties top be on sparkling form. It's the place that the director/producer most commonly gets 'edit blindness', where they've been so close to the material for so long they just don't know what's funny any more. I've seen many a director just get up and go home in sheer frustration during these times.

Link to comment
Share on other sites

You'd be surprised. Compiling a show is very much a collaborative effort, while there's many things in the edit a good director will be on top of, getting the order and duration of the sketches requires both parties top be on sparkling form. It's the place that the director/producer most commonly gets 'edit blindness', where they've been so close to the material for so long they just don't know what's funny any more. I've seen many a director just get up and go home in sheer frustration during these times.

yeah i can see that makes sense. i suppose a joke can get lost after seeing it 26 times in a row.

Link to comment
Share on other sites

How does the 5d/7d compare with bog standard HD cameras like the Sony Z1 and FX1?

I've got the latter, and I'm interested to know if there's any difference?

I used the 5D next to an EX1. It kicked the living shit out of the Sony- contrast, low light performance, colour, depth of field... yeah. Next job I'll be hiring something like a Red Rock Micro though- the handling of an EX1 is much better.

Wicked. They've addressed all the man issues there. This really could be a game changing piece of kit now.

:)

Link to comment
Share on other sites

How does the 5d/7d compare with bog standard HD cameras like the Sony Z1 and FX1?

I've got the latter, and I'm interested to know if there's any difference?

It gives a very different look to what you shoot. As its an SLR its colour depth and ability in low light are much better than the video alternative. However its not great with fast moving stuff.

Its interesting as you can get great results but you have to think about how you shoot in a slightly different way as its a different kind of camera. We recently shot a music video with it and it looks amazing. Hopefully it'll be online in the next week or so. I'll post it for you to have a look

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue. Use of this website is subject to our Privacy Policy, Terms of Use, and Guidelines.