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Things I’ve Learned as a Moviemaker
Let the eyes guide you. People are watching the eyes of a character. Eyes are also a link to subtext. You can create your own visual conversation between characters as they have [a different] one on the surface.
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Crossing the Line
Writer-director Matthew Ryan Hoge on The United States of Leland
Finding success as a first-time writer-director is hard—unless you have Kevin Spacey in your camp. With only two indie features under his belt (and both of them incomplete), writer-director Matthew Ryan Hoge was able to persuade Spacey and his Trigger Street production company of his talent and desire to step behind the camera on the very personal The United States of Leland.
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Film Composer
John Ottman prepares for Superman Returns
While he considers himself a composer, it’s hard to ignore John Ottman’s achievements in film editing. But he edits only for director Bryan Singer, whom he met at USC Film School. Ottman has cut all Singer’s films—except for X-Men (due to a scheduling conflict)—including The Usual Suspects, Apt Pupil, X2 and the upcoming Superman Returns.
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Things I’ve Learned as a Moviemaker
The big movies either make huge dollars in their first few weekends and pay back their investments, or they turn into big losses for the studios. Small films, distributed wisely, can become profitable far more easily.
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Things I’ve Learned as a Moviemaker
Capture the moment. Whether it's a documentary or a feature, the toughest thing is capturing that moment.
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Staying on the Cutting Edge
iHollywood Forum's Michael Stroud on the repercussions of digital technology
The "digital revolution" may seem a relatively new phenomenon to some, but for iHollywood Forum's Michael Stroud, it's defined his entire 20-year career. Five years ago, Stroud took that interest to a whole other level when he founded iHollywood Forum, a leading producer of roundtable discussions and networking events for digital entertainment executives. On April 28th, Stroud will host the third annual Digital Media Summit in Los Angeles. Here, Stroud speaks with MM about what attendees can expect of their latest Summit--and how MM readers can save $200!
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A Legend From LA to Antarctica
DP Don Burgess reflects on one hell of a career
His name may be indelibly linked to some of Hollywood’s biggest blockbusters—Forrest Gump, Cast Away, Spider-Man, The Bourne Identity, Terminator 3, The Polar Express—but Don Burgess isn’t afraid to admit that it takes a great team to make a successful movie.
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Things I’ve Learned as a Moviemaker
Save your money. Especially if you want to make films that are personal, or in any way 'difficult' or uncommercial, you will go through years where your income is little or nothing. It's a big temptation for young filmmakers when they get their first check to go buy that Porsche. Don't. $100,000 may seem like a lot of money. But what if you have to live on it for three or four years?
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Things I’ve Learned as a Moviemaker
Hollywood screenwriting isn't just about writing. It's about being able to listen to the desires of the director, the actors, the producers, the studio and myself--and being able to meet all of our needs simultaneously. In most situations, if you don't give up, a story can meet everyone's needs.
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Adapting to Directing
Actor-turned-director Keith Gordon on writing
As an actor, Keith Gordon made a splash when he portrayed a young man homicidally in love with his car in John Carpenter’s Christine. Gordon’s finest moments, though, have been behind the camera. He’s made a niche for himself by adapting challenging novels and proving their stories could become compelling cinema.
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The Satisfaction of Ludicrous Whims Fulfilled
Screenwriter James Gunn on his guerilla beginnings
For an aspiring screenwriter, finding your first big break is not just about being in the right place at the right time--it's about being willing to accept $150 for all your hard work. That's the total sum that moviemaker James Gunn received for penning the script to Tromeo & Juliet. But times have changed for Gunn. With two films in release, Scooby-Doo 2 and Dawn of the Dead, Gunn chats with us about escaping categorization and the need to bitch-slap Matthew Lillard.
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Things I’ve Learned as a Moviemaker
Nothing matters but the characters and the acting. As a production designer, I would put so much effort into making the set perfect and then I would watch some movies I had done and realize none of it mattered. There are a lot of films with great sets, but we don't care to watch them if the story and the characters aren't compelling.
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Things I’ve Learned as a Moviemaker
You're told in film school that in order to direct an actor properly, more important than directing is the ability to write a scene in which the actor will feel comfortable, with dialogue which makes sense. Then put this actor in the right set, with the right clothes, with the right partner--and pick the right actors. (laughs) If all those elements have been carefully prepared, you have nothing to do but enjoy.
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It’s All About Pleasure
Jean-Jacques Annaud returns to theaters with Two Brothers
After a three-year absence, French moviemaker Jean-Jacques Annaud is back--returning to theaters this summer with Two Brothers, a sort of spiritual companion to his acclaimed international hit, The Bear. Always ready to go where no moviemaker has gone before, Annaud speaks with us about his latest project, the HD technology and why he finds beauty in the most unlikely places.
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Even Sweeter the Second Time Around
With her new film, Lords of Dogtown, Catherine Hardwicke shows the success of Thirteen was no fluke
Catherine Hardwicke’s first film, Thirteen, won her the 2003 directing award at Sundance. But her “overnight success” was actually 15 years in the making. Now she’s back with the Lords of Dogtown, another film about troubled teens set in and around Venice, California with a bigger budget to handle—and a reputation to live up to.
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How to Make a Movie in 48 Hours
Joe Mefford discusses the art of weekend moviemaking
Think you need a year to learn how to make a movie? Four years? A long apprenticeship? At New York City's Weekend Film School, aspiring auteurs can learn the tools they need, both creative and professional, to stop talking about movies and start making them--and, according to Joe Mefford, it takes them all of 48 hours.
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Virginia is for Movie Lovers
The Old Dominion State offers moviemakers everything they need in one place
Ever since he first came onto the scene in 1998, Ramzi Abed has been pushing the boundaries of moviemaking to their utmost. In his latest film, Black Dahlia, Abed leaps forward technologically, using the digital format to present his take on the gruesome Hollywood murder mystery. Abed speaks with MM about the pros and cons of digital moviemaking.
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Things I’ve Learned as a Moviemaker
Get to know your cast and crew very well, and open yourself up to the ideas and talent they bring to the table. More importantly, work with people who are like-minded and can understand how you think, or at least how you see and hear your vision.
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Things We’ve Learned as Moviemakers
It takes a long time to make a movie. You spend months getting the script just so. You spend months in production, getting all the footage you think you need. Then you go into the editing room-and there, you start from scratch again.
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A Moviemaker’s Journey Back to School
Home Room's Writer-Director-Producer-Editor Paul F. Ryan
Paul F. Ryan may not yet be a household
name. But this
September, he'll
be living
the dream of every independent moviemaker when his debut feature, Home Room,
begins its nationwide theatrical run through DEJ Productions, the distribution
arm of Blockbuster. Here, Ryan speaks with MM about the challenges
of working
with an extremely sensitive subject line and what it's like to wear the simultaneous
hats of writer, director,
producer and editor.
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Forward Leap
Ramzi Abed pushes the boundaries of digital technology
Say that you’re an aspiring moviemaker, fresh out of college or high school, looking for that perfect film school—the one that will give you all of the experience, training and contacts you need to help you find a great job in the industry. MM speaks with Krane about why The Krane Academy could well be the film school for you!
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A Summer Blockbuster on a Blair Witch Budget
Chris Kentis and Laura Lau go into shark-infested waters on Open Water
Despite actors with knee injuries, shark-infested waters and fighting the elements 20 miles from shore in the Caribbean Islands, luck was on the side of moviemaking couple Chris Kentis and Laura Lau. Armed with Sony NTSC VX2000 and PD-150 cameras, the couple headed south of their New York base to shoot the feature, Open Water, a film which has “summer blockbuster” written all over it.
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Thick Skin & Short Memory
Jonathan Krane is taking on film education one principle at a time
Say that you're an aspiring moviemaker, fresh out of college or high school, looking for that perfect film school-the one that will give you all of the experience, training and contacts you need to help you find a great job in the industry. MM speaks with Krane about why The Krane Academy could well be the film school for you!
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Things I’ve Learned as a Moviemaker
Start it as soon as you can and be as thorough as possible before you ever even think about shooting. Any problems before production will only be magnified-and more expensive-to solve once production starts.
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Things I’ve Learned as a Moviemaker
When you walk onto a set you have to be able to think on your feet and find a way to make it work.
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From Idaho to Kiliminjaro
Jeremy Coon takes reins as producer and editor on Napoleon Dynamite
USC, UCLA and NYU may still get most of the glory. But when it comes to producing some truly talented—and independent-minded—teams of moviemakers, BYU is giving even the top film schools a run for their money. Following in the footsteps of Neil LaBute and Aaron Eckhart, writer-director Jared Hess and producer-editor Jeremy Coon have taken their collaboration from the mountains of Park City, Utah to theaters across America with this summer’s Napoleon Dynamite.
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Memoirs of a DP
Dion Beebe re-teams with Rob Marshall for Memoirs of a Geisha and Michael Mann for Miami Vice
by Bob Fisher
Success found Dion Beebe, ASC, ACS, early on—and has followed him ever since. As he reteams with director Rob Marshall for Memoirs of a Geisha (after earning an Oscar nod for their first film together, Chicago),MM speaks with Beebe about his start in the industry and where that's taken him.
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Things I’ve Learned as a Moviemaker
Working with great actors-be they stars or not-doesn't matter. But it's usually the non-stars that are the impressive actors because all they do is work on their craft. I study them and watch them and see how they finesse and massage their characters. So I got to say my inspiration in acting is the journeymen-the working character actors.
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John Leguizamo Hates Labels
The consummate scene-stealer goes from class clown to zombie hunter
Actor. Writer. Producer. Director. Comedian. Playwright. John Leguizamo has been called many things, and for a guy who above all else doesn't want to get "pigeon-holed," that suits him just fine. The former class clown speaks with MM about his formidable body of work and why it's always better to "pick the shit part" in a great movie.
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Things I’ve Learned as a Moviemaker
I work on a laptop, so when I'm in writing mode, I can be anywhere at all and still put in a good day's work.
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Things I’ve Learned as a Moviemaker
If a character is in a hurry, what kind of hurry is she in? God, of course, is in the details, but the devil's there too. I think a lot of directors get very impatient with actors and you see movies where you know the choices were generic.
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A Family Affair on the Maine Coast
Roy Finch gets a hand from Martin Landau on Wake
What’s a first-timer supposed to do when all he’s got to show for himself is a great idea and a burning desire to make movies? If you’re Roy Finch, writer-director of Wake, you assemble a stellar cast of actors, grab a digital camera, fly off to the coast of Maine and make your dream happen!
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Things I’ve Learned as a Moviemaker
Don't let anyone else steer the direction of your film, your vision and your creativity. Let your own voice do the talking.
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Renaissance Man
Longtime writer Craig Lucas turns first-time director with The Dying Gaul
Most people would settle for any one of Craig Lucas’ illustrious careers, but the multi-talented Lucas is always looking for a new challenge. After incarnations as a Broadway performer, playwright and screenwriter, Lucas is making his directorial debut with The Dying Gaul. Here, Lucas talks with MM about making the transition from writer to director.
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Weighty Subject Benefits from Humor
Morgan Spurlock on his engaging, enlightening Super Size Me
McDonald’s is by now surely tired of hearing the name Morgan Spurlock. But moviegoers everywhere are eating up his new documentary, Super Size Me, in which Spurlock commits to a diet of three square Mickey D meals a day—for 30 days. Here, Spurlock offers up his dieting tips and talks about how one person can make a difference.
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