Friday, June 28, 2013
Learn From the Great
Jim Jarmusch’s 5 Golden Rules for Filmmakers
Jim's Golden Rules:
Rule #1:
There are no rules. There are as many ways to make a film as there are
potential filmmakers. It’s an open form. Anyway, I would personally
never presume to tell anyone else what to do or how to do anything. To
me that’s like telling someone else what their religious beliefs should
be. Fuck that. That’s against my personal philosophy—more of a code than
a set of “rules.” Therefore, disregard the “rules” you are presently
reading, and instead consider them to be merely notes to myself. One
should make one’s own “notes” because there is no one way to do
anything. If anyone tells you there is only one way, their way, get as
far away from them as possible, both physically and philosophically.
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Article thanks to Moviemaker.com
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Article thanks to Moviemaker.com
Tuesday, June 25, 2013
World Cast Movie history's first to cast and film actors globally
PR Newswire (press release)
While there will be some local shooting in Berlin, and limited use of body
doubles, it will be the first time in history that a "film studio" has been
decentralized in this way, fully capturing the potential of current digital
technology and online ...
<http://www.prnewswire.com/new
PR Newswire (press release)
While there will be some local shooting in Berlin, and limited use of body
doubles, it will be the first time in history that a "film studio" has been
decentralized in this way, fully capturing the potential of current digital
technology and online ...
<http://www.prnewswire.com/new
Friday, June 21, 2013
Thursday, June 20, 2013
Film Crew Slang
"We're Back In!" – A phrase meaning lunch and/or any break is over and work has begun again. Is is usually announced by an Assistant Director.
Dialogue Greatness
"The key here, I think, is to not think of death as an end. But,
but, think of it more as a very effective way of cutting down on your
expenses."
Love and Death (2005), Woody Allen
Love and Death (2005), Woody Allen
Friend's Pics
 |
| On set Hangover 3. It's a Zonkey!!! If you haven't seen the movie yet go out and see it!!!---FBS Grad Jeff Hart |
Wednesday, June 19, 2013
Thursday, June 13, 2013
Man of Steel
Man of Steel: The History And Legacy Of Superman (Part 2)
WhatCulture!
With “Man of Steel” swooping into movie cinemas this week and
celebrating a storied 75 years this month, now is as super a time as any to
look at how Superman has gone “up, up, and away” throughout his caped
career. Defying gravity has always been an ...
<http://whatculture.com/film/m
WhatCulture!
With “Man of Steel” swooping into movie cinemas this week and
celebrating a storied 75 years this month, now is as super a time as any to
look at how Superman has gone “up, up, and away” throughout his caped
career. Defying gravity has always been an ...
<http://whatculture.com/film/m
Film Crew Slang
Grid- On a soundstage (a studio space where filming takes place) there can be a Grid hoisted overhead to support lights, scenery, and other items. It is made up of pipes and lumber. Grids are mostly used for sitcoms and weekly TV shows. Those productions tend to have lights that have been pre-placed on the grid. You might notice that Sitcoms and TV shows often look different from Hollywood Feature Films. The reason is that films tend to use lights on stands placed individually for each shot.
Wednesday, June 12, 2013
Friday, June 7, 2013
Film Crew Slang
Jack Lord- A 50mm lens named after the star of 1970's t.v. show "Hawaii Five-O". Get it?
Mickey Rooney- When operating a camera dolly a Mickey Rooney is a "little creep"--a slow subtle movement. Named for the diminutive actor who must have annoyed some crew members.
Mickey Rooney- When operating a camera dolly a Mickey Rooney is a "little creep"--a slow subtle movement. Named for the diminutive actor who must have annoyed some crew members.
Monday, June 3, 2013
Film Crew Slang
Fire in the Hole!: Cover your ears and duck when you hear this being yelled on set. It is what Special Effects and Props crews scream just prior blowing something up or firing guns.
Hero- A special item, prop or accessory. As in “Gimme the Hero Bomb, we are shooting the close-up.” This is a request for the best looking bomb. We are about to cut the blue wire….or is it the red wire? Television commercials have Hero as the star. The big juicy burger that is 6 inches tall, steaming hot is the “Hero” or “Hero Product”. The Hero “Product Shot “is usually the last shot of the day.
Hero- A special item, prop or accessory. As in “Gimme the Hero Bomb, we are shooting the close-up.” This is a request for the best looking bomb. We are about to cut the blue wire….or is it the red wire? Television commercials have Hero as the star. The big juicy burger that is 6 inches tall, steaming hot is the “Hero” or “Hero Product”. The Hero “Product Shot “is usually the last shot of the day.
Sunday, June 2, 2013
Heath Ledger's Diary from The Dark Knight Revealed
Crave Online
Heath Ledger won a posthumous Oscar for bringing to life one of the most
menacing, nuanced, fully-formed villains in film history. Now his scrapbook
from his time as Joker for The Dark Knight has gone public and provides
some interesting glimpses of ...
<http://www.craveonline.com/fi
from Google Alerts <googlealerts-noreply@google.com
Crave Online
Heath Ledger won a posthumous Oscar for bringing to life one of the most
menacing, nuanced, fully-formed villains in film history. Now his scrapbook
from his time as Joker for The Dark Knight has gone public and provides
some interesting glimpses of ...
<http://www.craveonline.com/fi
from Google Alerts <googlealerts-noreply@google.com
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