a steady diet of obsessive cinema and screenwriting in the dark
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When I'm not hiding in my cave as I am known to do I can be found wandering the streets of Brooklyn mumbling to myself. Read more about William Speruzzi.
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William Anyone have The Machinist screenplay by Scott Kosar in PDF/DOC format?
John Ott, writer, filmmaker and futurist, gives us some very interesting thoughts on why failure is part of the big picture and why indie filmmakers have it all wrong (I agree with him.)
I think I’m a pretty smart guy. Not a Mensa member by any stretch but I have commons sense, can change a flat tire, know how to order a bottle of wine, can talk my way out of a traffic ticket and can count to ten in four languages. So I put this question to you fine readers, what is an MFA worth out there in the film industry with the state of things as they are?
I have been wrestling with the thought of going back to school and getting a Masters in Fine Arts. There are only two schools I’m applying to and I couldn’t have picked a better time. The deadline for both is December 1st. There’s the NYU Graduate Program — Tisch School of the Arts. World renowned. The film world elite have been students or have taught there — Spike, Marty, Jim and Oliver. It’s a big program and the price tag is just as big. The other obvious New York City choice is Columbia, a school that has always been know for a solid screenwriting program and beyond. When I was taking some Continuing Education courses at NYU way back when, the general consensus was that if you wanted to direct you went to NYU and if you wanted to write you went to Columbia. Not sure how true that was then and how true it is now.
There are a few concerns here, money being one of them. There’s no way I could afford NYU on my own without any financial assistance and that doesn’t include making films, that’s out of pocket. Going through the bursars website I found out that a three year program, at about $20,000 a term, comes to approximately $150,000. That is including a modest budget for student films. Very modest.
The Columbia University MFA cost is slightly less. The first two years are all coursework, no film production at all, and it’s approximately $50,000 followed by thesis years which are about $3,000 a semester for a Screenwriting concentration. Big difference from the Tisch program but I know that NYU has invested a lot into their film department. I’m not sure how the Columbia Directing Program really stacks up.
I guess a big reason why I’m applying is maybe because I’m craving the need to be immersed in something I deeply care about and still want to improve at. I’ve spent the last year and a half caring for my son while Linda toils away in the coal mines. I feel out of loop and this could be a way to get back in. Besides, the film industry is in a complete state of panic and flux. Maybe now would be the time to do this.
I’m definitely applying to both. The decision of whether I go or not will be made when the time comes. The decision might be made for me for all I know. I would appreciate anyone who wants to leave a comment about their MFA/Film Program experience at either one of these two schools or any film school for that matter.
There are currently three film contests that I think some of you might want to check out [this isn't an endorsement, just posting notice.] With so many competitions out there why am I pulling these from the pile? The money. The prizes are a pretty impressive combination of cash and services. Take a look at all three and decide for yourself but don’t wait too long. Deadlines are approaching.
Being a lazy Labor Day weekend I thought this was worth sharing for a laugh. I found this article on the Pro Video Coalition website on how to read between the lines and interpret crew listings on Craigslist.
The above video is a gleaming example of what can be done with very little. It is an impressive looking short film called White Red Panic from Ayz Waraich and it shows us we don’t need all the bells and whistles equipment-wise to make something that visually stimulates. This is desktop filmmaking shot with a Canon HV20. A tiny kick around HD camera that goes for under a grand [the new replacement model is the HV30.] Yes, you heard me right. 1080p24 for under $1,000. The film itself is a simple sequence but you can see how far color correction can take you if you do your homework. I own the HV20 myself and I’ve shot a few things around the apartment but I can’t wait to beat this thing into submission and get some serious images. I’m planning on the next short film to be shot with this camera.
I first found out about this film and the camera through Stu Manschwitz’s ProLost site. He’s kind of a digital DIY guru of sorts that has an excellent book that informs and educates and I highly recommend it. He’s also one of the founders of The Orphanage and chief creator of Magic Bullet Looks. The film, the site and the book might be the boost you need to get you to sharpen your skills and get you excited about creating again. Remember what I said, a $1,000 camera.
We are moving into a new phase of independent filmmaking, beyond the crappy looking mini-dv cameras of just five years ago. Don’t get me wrong, use what you have. It’s not about the tools. It’s about the vision and ultimately, the story. HD isn’t everything and not everything needs to be HD but the options are there and at an extremely affordable price and with some ingenuity all things are possible.
Forget the three picture deal. Fuck it. No really, fuck it.
After reading the sobering post from Jonathan Marlow They Didn’t Build Their Sales Model For Youand its follow-up about film festivals and the state of distribution for the independent filmmaker on GreenCine Daily [Hands down one of the best film sites on the interweb. Thank you David Hudson] I had to come out of my recent sleep deprived dormancy. Like a cold pail of ice water in our faces Marlow sets a bleak and hopeful tone at the same time. I don’t say that in a casual way. It’s tough out there as we all scramble to figure out how to get our films into the right hands. The old models are broken. The long road of getting a film made, distributed and seen can seem longer. The glut of product seems endless. A filmmaker can no longer just make the film. He or she needs to be a technically proficient magician. A multi-tasking machine in all areas of business and marketing too and it still guarantees nothing but begs the question; is this really the best way to make a film outside the studio system or the only way? Great marketing ploy but shitty film?
Truth is empowering. Knowing what is really going on behind the scenes can save filmmakers a lot of time and anguish and give them the ability to utilize their resources more wisely. But the prospect of democratizing the process is over. We have arrived. We have technology on our side and have had it for close to eight years now. The Long Tail theory is relevant but it now needs to be reegineered for the independent filmmaker.
The truth can also be depressing. Hearing the stories of other filmmakers grinding it out on the front lines and coming up empty handed with orphaned projects can make even the die hard weary. We’ve all been there. We all have our stories. And yet we still do it because we have a passion for telling stories.
The good news is there will eventually be a venue for all of us. The tide is turning so just hold on. Changes are being made to get those gems off the shelf and out to an audience. I think now more than ever marks a real departure from what was and what will have to be to survive and thrive as a filmmaker. I’m a firm believer in cutting out the middle man if you can. By harnessing the internet to get your work out their I think individuals can bypass the taste makers altogether and deliver right to an audience. Of course I would love to see my films on the biggest screen possible but I would rather build an audience and skill set so I’m ready if that day comes. I’m also a believer in a Darwinian process for art. If that film is meant to be seen, it will be seen. The only problem with that is in the real world when it comes to a David vs Goliath face-off guess who is going to win? The one who is still paying off credit cards from three years ago to finance their last film or the one with a million dollar marketing budget. Who stands a chance? It’s true every once in a while a smaller film slips through and gains critical attention and box office numbers but do you really want to invest time, money and blood in possibly being that one? Maybe? What are our choices though?
Definitely food for thought. If you are a filmmaker or involved with film in any way and haven’t read those two posts I strongly recommend you do. Be sure to read the follow up comments too.
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by William Speruzzi
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John Hughes was 59.
.] Yes, you heard me right. 1080p24 for under $1,000. The film itself is a simple sequence but you can see how far color correction can take you if you do your homework. I own the HV20 myself and I’ve shot a few things around the apartment but I can’t wait to beat this thing into submission and get some serious images. I’m planning on the next short film to be shot with this camera.