Secrets of Breaking into the Film and TV Business: Tools and Tricks for Today's Directors, Writers, and Actors
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A highly successful, award-winning independent producer shares his funny, practical, and innovative approach to breaking into film or television, whether you want to direct, act, write, or produce.
It doesn't take film school or expensive, high-tech equipment to make a brilliant--and marketable--movie today, says successful maverick producer Dean Silvers. For aspiring filmmakers, it's easier than ever to produce--and sell--their work. Secrets of Breaking into the Film and TV Business is packed with concrete, proven advice to help you follow in the footsteps of today's cinematic giants, many of whom broke out with runaway independent successes. Drawing from his own experience as a filmmaker, Silvers offers essential tips and a wealth of invaluable knowledge about every aspect of the moviemaking business, from Internet shorts to how to adapt, option, and collaborate on feature-length films (with shoestring budgets).
seizing control and doing it yourself. Recently, a woman approached me after one of my seminars. She was full of enthusiasm, ready to conquer the world, having just moved to New York from the Midwest to begin her career as an actress. She was very excited, telling me that she had already taken my advice before even hearing me speak, and was starring in a horror movie that she was producing. She had spent a good deal of time putting together her group of trusted collaborators and found an
fundraising ideas for shorts: • Approach foundations that may have an interest in the subject matter of your film. It is easier if it is a documentary, but you have nothing to lose if you approach a foundation whose specific mandate matches the subject matter of your film. • Self-finance, or go to family and friends to ask for donations. Since you probably won’t make money on your short, make this a labor of love. You really don’t need a vast amount of money to put something together, so find
Thinking you have no limitations when shooting with a digital camera can make you less precise in your craft, subconsciously slackening the creative muscle. I have seen this happen over and over again. And this does not simply apply to directors. When everyone, from actors to other key personnel, knows that you can shoot and reshoot forever, or manipulate the footage in postproduction, some may adopt the attitude that they don’t need to work to make things perfect on the set. Sometimes the
an actor, a live human being who is in search of feedback and support. The monitor comes between the actor/director relationship physically and metaphorically. They’ll know when you’re watching their face and eyes and when you’re watching the monitor. And with that knowledge, one can breed insecurity or misplaced focus. In a similar vein, I’ve seen situations where directors become so dependent on playback that they begin neglecting the actors right in front of them by obsessively checking each
Actors Actors, in addition to creating your marketing package for your first film as a filmmaker and actor, by following the steps in this book you are simultaneously in the position of having a marketing package for yourself as a working actor. If you have followed my previous suggestions, you now have created: • your personal “trailer” (in this case, your reel); • a combined narrative/marketing report describing who you are and how you would sell yourself as an actor (this can be much