Filmmaking Bootcamp: How to Direct a Feature Film in 24hrs

In this chapter you will learn how we found our inspiration and how you can find yours. We also take you through the first steps of building the story for the film, how we work with the actors and how to do this without a script. Topics covered: 

• How we Think of Ideas
• Location & Character Inspiration
• Outline
• Character Backgrounds
• Scene Descriptions 
• Script vs Improvisation

In this chapter you will learn how we tackled casting and what we look for in actors, how to use social media for casting calls, plus insights into the audition and selection process. Topics covered: 

• How We Find Actors 
• Our Audition Process
• How We Choose Our Cast

Casting Tape for the character of Fiona

Casting Tape for the characters of Sofia and Zoe

Casting Tape for the characters of Summer and Lucinda

In this chapter you will learn about crewing for an improvised feature film, what equipment you will require and the crewing positions we utilised, plus other crew roles you need to consider. Topics covered: 

• Crew Positions We Use

In this chapter you will learn about crewing for an improvised feature film, what equipment you will require and the crewing positions we utilised, plus other crew roles you need to consider. Topics covered: 

• Additional Crew Positions

In this chapter you will learn about crewing for an improvised feature film, what equipment you will require and the crewing positions we utilised, plus other crew roles you need to consider. Topics covered: 

• Finding Crew

In this chapter you will learn about crewing for an improvised feature film, what equipment you will require and the crewing positions we utilised, plus other crew roles you need to consider. Topics covered: 

• The Gear and Equipment We Used

In this chapter you will learn about the in-depth process for rehearsals we created to help everyone prepare for the shoot, all without a script. Everything from meetings with the actors, to ice-breaking games, right through to how we recreated character history to give our actors grounding and shared truths to draw upon. Topics covered:

• Our Rehearsal Process
• One on One Meetings
• Actor on Actor Meetings 
• Group Meetings
• Improvisation Games 
• Recreating History

CHAPTER 5. FINAL PREPARATION 

In this chapter you will learn how to go into an improvised shoot as prepared as possible. We will cover everything we did before shoot day to get ourselves and our cast and crew ready, which you can do too. 

CHAPTER 5. FINAL PREPARATION 

In this chapter you will learn how to go into an improvised shoot as prepared as possible. We will cover everything we did before shoot day to get ourselves and our cast and crew ready, which you can do too. Topics covered:

• Schedule
• Catering 

CHAPTER 5. FINAL PREPARATION 

In this chapter you will learn how to go into an improvised shoot as prepared as possible. We will cover everything we did before shoot day to get ourselves and our cast and crew ready, which you can do too. Topics covered:

• Dialogue & Acton Beats 
• Call Sheets

In this chapter you will learn how to take everything you have prepared and turn it into action. We talk about on set etiquette and how we worked with our cast and crew to capture the footage needed, keep the story on track and the schedule on time, and draw the best possible performance from the actors. Topics covered: 

• Welcoming the Team 

In this chapter you will learn how to take everything you have prepared and turn it into action. We talk about on set etiquette and how we worked with our cast and crew to capture the footage needed, keep the story on track and the schedule on time, and draw the best possible performance from the actors. Topics covered: 

• Shot Setup 
• Reviewing Takes

In this chapter you will learn about a number of things that can and will go wrong when shooting any film - improvised or not - and how to work to correct these errors. Through experience and hindsight, we talk about how to avoid mistakes on set and correct those mistakes in post-production that you couldn’t avoid. Topics covered: 

• Coverage
• Continuity

In this chapter you will learn about a number of things that can and will go wrong when shooting any film - improvised or not - and how to work to correct these errors. Through experience and hindsight, we talk about how to avoid mistakes on set and correct those mistakes in post-production that you couldn’t avoid. Topics covered: 

• Overlapping Dialogue

In this chapter you will learn about a number of things that can and will go wrong when shooting any film - improvised or not - and how to work to correct these errors. Through experience and hindsight, we talk about how to avoid mistakes on set and correct those mistakes in post-production that you couldn’t avoid. Topics covered: 

• Cameras in Shot 
• Reflections & Shadows
• Security 

CHAPTER 8. POST PRODUCTION 

In this chapter you will learn how to move from the shooting stage into the many phases of post-production. We will discuss all the necessary steps that need to be taken right through from editing the footage to sound design to the final touches needed to complete the film. Topics covered:

• Editing

CHAPTER 8. POST PRODUCTION 

In this chapter you will learn how to move from the shooting stage into the many phases of post-production. We will discuss all the necessary steps that need to be taken right through from editing the footage to sound design to the final touches needed to complete the film. Topics covered:

• Sound Design 
• Automatic Dialogue Replacement 

CHAPTER 8. POST PRODUCTION 

In this chapter you will learn how to move from the shooting stage into the many phases of post-production. We will discuss all the necessary steps that need to be taken right through from editing the footage to sound design to the final touches needed to complete the film. Topics covered:

• Visual Effects
• Colour Grade

In this chapter you will learn how to distribute and sell your improvised film. We talk about the importance of marketing within the early stages, how we marketed our film, and what you can do to gain an audience for your film and the steps you can take to sell your work. Topics include: 

• Website
• Social Media

In this chapter you will learn how to distribute and sell your improvised film. We talk about the importance of marketing within the early stages, how we marketed our film, and what you can do to gain an audience for your film and the steps you can take to sell your work. Topics include: 

• Distribution Streams 
• Distribber
• Sales Agents & Aggregators
• Film Markets

In this chapter you will learn about the important legal things that you need to consider as a filmmaker. This may be the boring stuff, but not getting this down can jeopardize your shoot or even your film’s future prospects. We will take you through the basics, covering everything from the contracts and permits, right through to discussions on logos and branding, plus more. Topics include: 

• Contract 
• Deferred Payment 
• Clearing Music 
• Permits
• Public Liability Insurance 
• Logos & Brands
• People in Background

How to Shoot a Feature Film in 24 Hours with Ivan Malekin

Imagine shooting an entire feature film in 24 hours. How could you do something like that and not make it a bad stage play? Today’s guest was not only able to do that but made a damn good film in the process. Ivan Malekin and his partner Sarah Jayne directed the feature film Friends, Foes & Fireworks in just one night (24 hours). Here’s some info on the film.

An intimate New Year’s Eve reunion of five female friends in the independent acting scene becomes a test of relationships when old tensions spark, truths are told, and rivalries are reignited. Will the group make it through the night together or will their friendship fizzle out like an overzealous fireworks display?

Filmed in a single night, the craziest and most chaotic night of the year – NYE – and relying entirely on improvisation, Friends, Foes & Fireworks is an ambitious Australian drama exploring relationships, love, friendship and the truths we try and fail to keep to ourselves.

We dive into what it took to make a film in 24 hours, did they use a script or scriptment? How many cameras? How many crew and much more. Get ready to be inspired and enjoy my conversation with Ivan Malekin.

How to Shoot and Sell a $5000 Micro-Budget Feature Film with Claudia Pickering

Today’s guest is writer/director/actor/producer Claudia Pickering. She recently wrote and directed the feature film “Frisky” for just $5000. I wanted to have her on the show to discuss the tricks of the trade when making a feature for such a low budget. The film has also played at countless film festivals and won a ton of awards. Check out the trialer below.

Two twenty-somethings move to San Francisco to chase their career but end up chasing tail instead.

When two twenty-something women move back to San Francisco, where they had met on exchange years earlier, their high career aspirations quickly become sidelined by their sexual interests. While wildly crass and charismatic in their public personas, they are in fact fundamentally at odds on many levels. Their opposing beliefs surrounding responsibility and romance, combined with their close quarters while crashing in an acquaintance’s living room, find them thrust onto a fast track to discovering what their friendship is really made of. Based on true events, Frisky is an honest, tongue-in-cheek look at what it is to be a woman in the limbo years between college and “the real world”. 

★★★★  “This fearless, fun comedy offers a welcome female take on twentysomethings finding themselves amid aimless drifting, partying and hook-ups, its simple story bolstered by a sharp script and charismatic comedic turn from writer/director Claudia Pickering.” – Empire Magazine

Claudia Pickering’s Tips For Budget Filmmaking

• Use Craigslist to advertise for cast and crew, also ask your network.
• Offer profit share for people to work for free.
• Use the majority of your budget for post-production sound and color.
• Offer bigger credits for those working for free
• Do most of the dirty work yourself.

Enjoy my conversation with Claudia Pickering.

How to Make a $9000 Feature Film with Ed Burns

Many of you might have heard of the Sundance Film Festival winning film called The Brothers McMullen written and directed by Edward Burns. Burns went off to star in huge films like Saving Private Ryan and direct studio films like She’s the One but what you might not know is he has been quietly making completely independent films on really low budgets. How low, how about $9000. 

As with any smart filmmaker, Ed Burns has continued to not only produce films but to consider new methods of getting his projects to the world. In 2007, he teamed up with Apple iTunes to release an exclusive film “Purple Violets”. It was a sign of the times that the director was branching out to new methods of release for his projects. In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created “Nice Guy Johnny” in 2010. Again- he was the writer and director. This is a formula that may intimidate a lesser performer, but he has proven that it works perfectly for his abilities.

The film “Nice Guy Johnny” was released at the Tribeca Film Festival. While he was releasing that film, Burns wrote “Newlyweds”, another film he directed and starred in. He filmed this on a small Canon 5D camera in only 12 days and on a budget of only $9,000.

In his book Independent Ed (which I recommend ALL filmmakers read), Ed Burns mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.

• The film should take no longer than 12 days to film
• Don’t shoot with any more than a three man crew
• Actor’s use their own clothes
• Actor’s do their own hair and make-up
• Ask and beg for any locations
• Use the resources you have at your disposal

The Art of the $6000 Feature Film with Joshua Caldwell

I had the pleasure of meeting Joshua Caldwell, a brother in “indie filmmaking” arms. He directed a $6000 feature filmcalled LAYOVER, which World Premiered at the 2014 Seattle International Film Festival where it was nominated for the New American Cinema Award.

The story of how he made the film was educational, rebellious and funny. Many things he said mirrored my experience making This is Meg. Josh really has a great philosophy about making films and content. Check out the trailer below to see what a $6000 feature film in today’s world looks like.

If you are going to make a feature film in the near future you need to listen to this podcast. It will change how you think about making indie films.