Filmmaking
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Shooting With John: Adam Schartoff
I was very nervous about the experience. The idea was to go upstate, about 80 or 90 miles or so north up the Hudson Valley region, to some bucolic spot and shoot guns. Originally we were supposed to shoot skeet but that equipment wasn’t available so we ended up doing target practice. A longtime gun control advocate, I was a bit at the end of my rope. It was November of 2012 and there had been close to 16 mass shootings in the U.S. up to that point including the Batman shooting and the Texas A&M shooting that summer. The […]
by Adam Schartoff on Aug 29, 2013 -
Lessons Learned
Orson Welles is reputed to have said, “The enemy of art is the absence of limitations.” In film school, these limitations are called assignments, and this issue’s Extra Curricular offers an assortment of assignments designed to ignite the creative process. They’re gathered from a group of screenwriters, animators and filmmakers who teach at schools across the country. Assignment #1: Look Hard Mary Sweeney, who teaches a course called “Dreams, the Brain and Storytelling” in the Screenwriting Division of the School of Cinematic Arts at the University of Southern California, offers this simple but powerful writing assignment, which can be […]
by Holly Willis on Jul 18, 2013 -
Holiday Top Ten of 2012…With Eggnog
Tis the season for egg nog, friends, good conversations, video games, and top ten lists. So we put all of it into one post. Ghosts of SWJ past and future get together in this first episode of season two to give us their top tens from 2012. But first a few friends drop by for a drink and to talk about creativity in today’s climate. Check out Bryan’s sites: Bryanbruner.com Loveandrobots.tumblr.com Eric’s Film: American Bomber Movie Happy Holidays! John Top 10 of 2012: Frank Mosley 1. The Comedy 2. Compliance 3. The Master 4. Killing Them Softly 5. Bad Fever […]
by John Yost on Dec 21, 2012 -
Shooting With John: A Performance Behind The Lens
It was a hazy Saturday afternoon in Berne, New York, and a motley crew of filmmakers holding shotguns, aimed at the sky, surrounded me. My mouth was dry and I felt the mind’s eye going black while gripping my barrel. “What the hell am I doing here and who are these strangers?” Well, I was asked to join a small group of filmmakers to shoot skeet and talk shop (and sadly, not form a militia). This past year was a whirlwind tour with my first feature art/documentary, Convento, which premiered at SXSW, played a bunch of fests and was picked up […]
by Jarred Alterman on Aug 28, 2012 -
Shooting With John: Lest We Forget
Perhaps it was no coincidence, then, that on the morning of my return flight from LGA, my stomach peppered on too little bagel and too much coffee, I came across the tidbit of news that traffic would be jammed due to an animal convoy truck that had crashed wide open, spilling several cows to run rampant across Dallas-Fort Worth. Several had been killed in the wreckage, a few had laid down to rest, and yet an even bigger number had mustered their courage to brave the zig-zagging pattern of screeching 18-wheelers and high tail it to the fields that must […]
by Frank Mosley on Aug 14, 2012 -
Copy That: On the Transformative Effects of Independent Film Production
You don’t have to be British royalty to find a cure for a speech impediment through film. High school senior Daniel Altman wrote the below account of his work on an independent feature as his college essay. It was subsequently published on the Stuttering Foundation website, where it has attracted thousands of hits, and Altman has been accepted at his top choice school for the Fall. We’re reprinting it, with permission, because it’s a great reminder that the practice of filmmaking brings many rewards, many of which often go unsung. — Editors I stutter. I stutter like Porky Pig. Sometimes […]
by Filmmaker Staff on Apr 26, 2012 -
The Micro-Budget Conversation: Is Enough… Enough ?
When and how did Edward Burns become the mouthpiece of micro budget cinema? That’s a question I asked on Facebook after a late night holiday bender and noticing the ridiculous amount of press Ed got for making a film that certainly didn’t cost him 9K. Then I thought, who really does make a film for 9K? If you add up all the favors and salaries that are not getting paid you’re in the hundreds of thousands. Then I thought, oh man is there any such thing as micro-budget at all? Or is it like the myth of cover girl beauty. […]
by John Yost on Feb 16, 2012 -
The Microbudget Conversation: What Is Your End Goal?
As the editor of this column it is my job to choose the contributors, shape the voice, and move the column in a forward direction. The last post really struck up a good conversation, and it is now clear that my decision to move the blog in a new direction would be a welcome change. This does not mean, however, that we will stop talking with micro-budget filmmakers on timely topics and take the time to check in on their latest projects. Despite what some people feel, one of the functions of this column is to help contributing filmmakers get […]
by John Yost on Dec 20, 2011 -
The Microbudget Conversation : Ex Girlfriends
Earlier this month I had the opportunity to take a master class with Ted Hope and Christine Vachon. Now out of respect to them I will not reveal all that was discussed, but what I can tell you is that my perspective of things has been altered quite a bit. I first started this blog with the intention of showcasing microbudget work as the passionate filmmaking it is…and fuck the rules. (The whole series of manifestos is evidence of that.) We were making cinema fast and cheap, and we needed to completely re-write the rules; a message that can be […]
by John Yost on Nov 15, 2011 -
The Microbudget Conversation: Script vs. Story
I have come across many folks who have allowed the completion of a perfect script to derail their entire production. I have also sat through (I’m including my own films here) more films that I can remember in which the filmmakers hoped improv will create something magical. In microbudget the latter is a necessity, in large indie films, it’s risky, and in Hollywood, no one but a select few can pull it off. I recently started a conversation with an Austin filmmaker in the very thick of making her second feature film, What’s the Use (pictured below), and this battle […]
by John Yost on Aug 3, 2011
