• About
  • Contact Us…

Inside-Out, Outside-In

~ Every journey worth taking…starts on the inside.

Inside-Out, Outside-In

Category Archives: Casting

The Voice of Your Film

23 Monday Jan 2017

Posted by hunterlh in Casting, Development, Pre-Production, The Script

≈ Leave a comment

Tags

casting a film, casting a movie, directing, Film Directors, how to cast a movie, meditate, meditation, Meditation for artists, Meditation for film directors, rehearsals, rehearsals in film, research for films, shotlist, shotlisting, should i rehearse my film, Storyboarding, Storyboards, Strategies of a film director

One of the founding principles of my production company Fatelink is our belief in the organic development of material.

What does that mean exactly and how do we organically develop material in an age when time is a precious and expensive commodity for the higher profile actors who sometimes drop in for only a day or two of rehearsal, if that?

For me, at the core of the concept of organic development of material is an idea – the idea that the material itself has a life of its own. Furthermore,  over time – the film will communicate with you and clarify what it wants to be, much like a child asserting to a parent the profession that suits their personality. I see directing films not so much as a general leading troops to battle to execute a plan, but as a meditator quietly listening to the “voice of the film” that’s already forming itself somewhere beyond our ordinary day-to-day life. Then, it’s the director’s job to support that voice and to encourage it, just as a good parent enrolls his child in karate classes when they express a desire for a career in the martial arts. The “voice of the film” doesn’t scream at you – it whispers, it entreats, it inspires and, sometimes, it vexes you, especially when the “voice of the film” wants to shoot underwater or rewrite a scene to require more speaking parts that will prompt a difficult conversation with the producer. And the “voice of the film” doesn’t speak in a rapid-fire monologue that is discoverable in one sitting. It requires a number of sittings, over time, and there is room for negotiation. Interestingly, if you really can’t afford those other actors and go back to the “voice of the film”, it may come up with an alternate idea. What I’m calling the “voice of the film” also may evolve as you the director gather information through research, thought and rehearsal.

Admittedly, filmmaking in 2017 seems particularly unsuited for this meditative directorial style. In the studio world, hiring a general makes a lot more sense. After all, they have hundreds of people to be corralled to make the film (some of them, quite frankly in my opinion, who are unnecessary). And even when the “voice of the film” begins to call out to the people involved that the plan needs to change, it’s more effective to execute the plan that was drafted before. After all, hundreds of people have committed to it (and in some cases, it seems like hundreds of people had to agree to it, too) and it’s already in motion. Studios feel they must populate their films with actors that drive box office returns, so when a fragile voice expresses, ‘we need someone with XXXX quality to embody this role, not that huge star’, it’s a business imperative to ignore that voice.

The beauty of being an independent filmmaker is that the lower budget and freedom from bureaucratic power struggles mean that the “voice of the film” has a much better chance of emerging. But don’t be fooled – even an independent film has internal political pressure and time is always a factor. So it’s important to set up your process in a way that empowers the “voice of the film” rather than disempowers it.

Here are some simple steps you can take to ensure that your film discovers and heeds its own voice in an organic way.

  1. Don’t be fooled by magical thinking that says rehearsal is unnecessary in film. I’ve heard so many director’s commentaries where it’s said that a chosen moment in the film was “the first take” and that the film did not rehearse the scene whatsoever. I’ve then heard 23-year old directors mimicking that sentiment with broad statements like, “I don’t believe in rehearsing for film.” But it’s dangerous for new and emerging filmmakers to adopt the attitude that rehearsal is something for amateurs and theatre actors. First of all, so often what underlines this attitude in newer directors is hubris rather than a genuine philosophical point of view (The subtext of that previous quote from Mr. Hot Young Director is, ‘I’m so brilliant that I don’t need rehearsal – it would only slow down the magic that is flowing from my brilliance….’). Done properly, rehearsal is a time when the “voice of the film” reveals itself and, if you’re listening, you will find a moment or two that you didn’t know existed when you wrote the screenplay. You’ll discover dialogue that’s unnecessary and other dialogue that can be simplified. You’ll realize that the intricate shot you storyboarded isn’t as important as an ordinary medium or close-up that reveals something more important…and will footnote that moment as a priority for later on set.
  2. Hire high profile actors. But don’t put them in every single role. The economic reality of independent filmmaking is that you must put some high profile actors in your film to increase your chances to sell and distribute the film. But I strongly, strongly suggest you resist the temptation to put high profile actors in every single role. Why? Usually, these actors – even when working for scale – are less available for rehearsal and conversation before the film starts. They tend to drop in on your movie for the allotted amount of time, then go away again. They do what they do extremely effectively, but you don’t want an entire cast that is under that sort of time crunch. If you have an ensemble film of seven main characters, I suggest going for high profile actors for three of the seven roles, at the most. With the other roles, choose amazing working actors that perfectly fit the archetypal quality of the character. And make sure with their agents that they are available for an extensive amount of time for rehearsals. Usually, these actors are extremely grateful to get a leading role, so you will have an easier time going out with them for coffee just to talk about the film and the role. And this time is crucial because, again, it’s simple conversations like this when the “voice of the film” starts to emerge. And you want to feel 100% confident in those conversations, rather than feeling like you owe an agent a favor for an hour’s discussion with his or her client. What I’ve seen is that once the really high profile actors come on set and realize how much development and work has gone into the film and the other characters, they are inspired to dive in and are suddenly on their A+ game, so you end up getting the best of all worlds.
  3. Storyboard the entire film. Shotlist the entire film. Again, related to the point I make in #1, I’ve heard directors as young as 21 insist that they never shotlist or storyboard their films, but rather discover everything on set. Usually, this is accompanied by some sort of statement about shotlists being too “limiting” or a desire to shoot things, “in the moment.” And again, I am skeptical of whether this mentality is hubris or just laziness. Here’s why storyboarding and shotlisting are important, other than their advantages of keeping the crew informed, organized and prepared and just having a plan generally. Storyboarding and shotlisting force a conversation with the “voice of the film” that you might otherwise be too busy to notice. Going shot by shot allows you to organically hear what your film is resisting and what makes it enthusiastic. It’s sort of a boot camp for understanding what type of film you’re directing. If you have enough of these sorts of conversations, you become attuned to the “voice of the film” so much so that if you decide there’s a scene you need to improvise, you will know how to direct that scene without a shotlist. But again, that ability to be “in the moment” can only come from the weeks of work listening and understanding the “voice of the film” through the storyboarding and shotlisting process.
  4. Read. Then Check in. Watch Movies. Then Check in. It can be difficult to separate yourself as a private individual from the film you are serving. So one simple, but effective tactic for developing the “voice of your film” is to check in with your film immediately after reading or watching a film. As an individual, you may have one reaction to a novel, poem or essay, but the film inside you may find something else of value in what you’ve just read. The same concept applies to watching films. So it’s helpful to ask the “voice of the film” inside you, ‘What did you find interesting or useful about that? You might be surprised at what comes back.
  5. Meditate. First of all, let me be honest. When it comes to meditation, I’m like an alcoholic – on the wagon, then off again. However, I have noticed that meditation helps draw up the ideas needed for a film. The process through which that happens is a bit mysterious and also important to keep private, I feel. But don’t take my word for it. Learn meditation from someone who knows what they are doing and you will see results (send a message if you’d like me to recommend someone).

These are just five out of an infinite number of ways you may begin listening to the “voice of your film.” If you have any more methods helpful to directors or screenwriters, please leave them in the comments!

 

 

Advertisement

Share this:

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)

Like this:

Like Loading...

So you’ve raised $2,500. What do you buy first? Filmmaker-distributor Rob Williams discusses DIY indie filmmaking

10 Monday Dec 2012

Posted by hunterlh in Casting, Interviews, Release

≈ Leave a comment

Tags

best investments for a young filmmaker, Black Briefs, Blue Briefs, casting an independent film, Guest House Films, How do i distribute my movie, how do i find a good movie distributor, how do i find an honest movie distributor, hunter lee hughes, independent film distribution, indie film distribution, Men Next Door, Rob Williams

Rob Williams isn’t just a filmmaker, he and his partner Rodney Johnson have created Guest House Films, which distributes movies primarily for the gay audience. I met Rob after they acquired rob williamsFatelink’s film “Winner Takes All” for their “Black Briefs” collection, which went on to hit number one on TLAGay.com‘s sales chart for LGBT titles. Rob talked with us about his new film “The Men Next Door” and about the process of making a film from incorporating to casting to finding the right distributor. And, yep, he answers that question. What should you do with the first $2,500 you raise?

Hunter: You’ve gotten to the promised land of indie filmmaking and by that I mean, you haven’t just directed one film. You’ve directed six! How has the craft and business of filmmaking changed between your first feature and “The Men Next Door“?

Rob: For me, filmmaking has become easier for two reasons – (1) I’ve gained experience on each film, which lets me better anticipate problems and hopefully be more creative with my work; and (2) changing technology makes for easier camera purchase or rental,  software availability, distribution options, etc. And we have spent a lot of time working on building Guest House Films since we shot our first film, and while the business end of it never gets easier, perseverance definitely pays off.

Hunter: I’m beginning to get a little suspicious of aspiring filmmakers who tell me that the only reason they haven’t made a movie is they have no one to finance it. What advice can you give filmmakers to get over that hurdle? Or, with digital technology, is that just an excuse at this point?

Rob: I think the combination of digital technology and crowd-sourced fundraising (such as Kickstarter and IndieGoGo) make it easier than ever to make a movie without any excuses. You can buy or rent a high-quality digital camera for very little money, find actors and crew members willing to work for little or no wages (though I always recommend paying every member of your cast and crew), edit the movie on your computer, and release it online. That’s where the real indie filmmakers are turning these days, and with a little imagination and a lot of hard work, anyone can get their movie made. Now, whether that’s a good thing or a bad thing is another question!

Hunter: Are you functioning as your own movie studio in terms of owning equipment, editing facilities, in-house graphics? How much stuff do you rent/farm out versus keep in-house? And if an indie filmmakers has $1500-$2500 to invest in equipment or software, what would you advise as the first purchase?

Rob: We have always believed in doing what we can do well, and then farming out the rest. For us, that means hiring a good director of photography, editor, music composer, graphic designer and all of the other positions that make a movie stand out, and allowing us to focus on the writing, directing, producing and distribution. But we’ve never really invested in equipment for one reason – technology changes incredibly fast. That amazing HD camera that costs $2,500 today might be completely obsolete in a year or two. My advice to an indie filmmaker with that amount of start-up capital would be to find a good attorney and use that money to incorporate their business and get the basic legal paperwork done so that they can move forward with building their brand.

Hunter: How do you keep the casting process streamlined and efficient? Casting is one of those things that a lot of indie filmmakers don’t budget for – they figure it’s two days borrowing an office and buying some doughnuts for the guy helping you video the auditions. But if the casting process takes a month…well…that gets expesnsive, right? Time is money. How do you keep on track?

men next door

Michael Nicklin, Eric Dean & Benjamin Lutz in “The Men Next Door“

Rob: Casting should never be an expensive process. We keep track of actors we like, and if there is an opportunity to work with them, we’ll try to bring them in. It’s much easier to find an actor you like and who is good, and approach them directly, than to hold a huge cattle call. But if we have to, we post on online casting sites, carefully comb through submissions and keep the audition process to a minimum. And if that doesn’t work, we ask fellow filmmakers – referrals are the absolute best way to find good actors. If another director or producer can vouch for someone’s talent and work ethic, that goes a long way with me.

Hunter: Of course, as an old school romantic, it seems totally awesome that you make movies with your partner Rodney at your side. Is it fun to be able to develop as a filmmaker with someone you care about so much?

Rob: Absolutely! It’s great that we have been able to start our company together, work together to make it grow, work on each film together and share in the rewards. We are both passionate about filmmaking and dedicated to producing the best films we can.

Hunter: You and I have talked a little bit about the evolution of LGBT film. Are you seeing any trends in how the films are maturing? Or are they maturing at all? Should a young LGBT filmmaker still make his “coming out” story if that’s what moves him? Or are certain stories deemed too “passe” and others “hip”?

Rob: It’s tempting to say that we’re moving into a “post-gay” world of filmmaking, where the characters’ sexual orientation is irrelevant. But that’s just not true, especially for people like me who want to make gay-themed films. Hollywood films may incorporate more and more gay characters in a nonchalant way, but indie gay films are made for the gay audience. Our viewers want to see their lives reflected onscreen (or perhaps see what they wish their lives would be). I wouldn’t ever tell a filmmaker to stay away from any particular genre, because we need filmmakers to tell stories that are important to them, that move them and that could resonate with their viewers. Sure, coming-out stories have been done to death, but if someone has a fresh take on it, they should go for it. Good storytelling transcends genre.

Hunter: You’ve now branched into distribution with the “Black Briefs” and “Blue Briefs” collections of gay shorts. (And we’re especially grateful since it includes our own “Winner Takes All”). How did this bridge to distribution happen for Guest House Films and why did you feel it was important? Is being a distributor more or less fun than the producing?

Rob: After dealing with distributors for our first four films, Guest House Films made the decision to get into distribution with our fifth feature film, “Role/Play,” taking advantage of the relationships we had built over the years and the increasing ease with which filmmakers can get their own products out to the public. After the success of “Role/Play,” we saw an opportunity to get other people’s films out there, particularly short films. There are so many amazing gay-themed short films produced every year, and so few ever get seen outside of film festivals, and we’re glad we can help filmmakers get their work seen. It’s a lot of work, but it’s also very gratifying to see these great films reach a wider audience.

Hunter: I know and many others in the community know your reputation for honestly caring about LGBT filmmakers and being honest in business, which is amazing in a field rife with piracy and “creative accounting.” What are the biggest ethical pitfalls that young filmmakers face and what are some strategies for staying true to yourself?

black briefs

Rob’s collection of dark short films landed on the top of TLAGay.com’s sales chart in 2012.

Rob: The biggest pitfall young or first-time filmmakers encounter is accepting the first offer they receive or not doing their research about distributors. Before signing anything, filmmakers should ask around and find out exactly what they’re getting into. If they want to stay true to themselves and to what they want to do, they should focus on developing good scripts and finding good actors, and then simply make the movies they want to make. Don’t let anyone tell you what you should or should not make – create the movies that mean something to you, and that will make it resonate with others.

Hunter: Thanks for your time, Rob. I think it’s exciting that you’re going all the way with DIY and distributing product yourselves, making more money on your own films and providing a platform for newer artists to gain exposure and a financial foothold in the market. 🙂

—

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Share this:

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)

Like this:

Like Loading...

Seeking Actors for Investors’ Reading/Character Breakdown

12 Monday Nov 2012

Posted by hunterlh in Casting, Pre-Production

≈ Leave a comment

We will do a staged reading of “Inside-Out, Outside-In” for potential investors and invited guests sometime the week of December 3rd (exact date TBD). There may be more roles forthcoming but for now, here are some of the roles we are seeking:

Jason Quinn, 27, Caucasian, part Irish, dark hair, very attractive. Struggling leading man becomes convinced by his manipulative agent to toy with the affections of a talented gay filmmaker so that he might win a lead role in a feature film, despite being straight and having serious moral/ethical reservations. Lead. Torn between living life authentically vs. “playing the game” to get ahead. Must be comfortable playing a seduction scene with a man (no nudity, no kissing).

Peter Hearndon, 50-55, prefer African-American, but open to other ethnicities. Hard-nosed, successful businessman, imposing presence. Lead. His gay sexuality may’ve caused some to discriminate against him throughout his life, but that’s only made him more motivated to conquer in the boardroom. Senses he may be losing control of his business, but fighting all the way.

Abhaya, mid 20s, male, Indian monk, playful and spiritual renegade who tries to convince a lover to take leave of a regimented life and experience all that the world has to offer. Supporting.

Angela (and company) – mid 40s, female, quirky production designer who’s confounded by the director’s confusing and conflicting directives for creating the set. Same actress will also play multiple other roles in the reading. Supporting.

Ian – male, 30s, red hair preferred, Irish background, Irish accent. Tough heavy-for-hire who doesn’t lack charm and a sense of humor. Real Irish guys preferred. Supporting.

To submit, please send your headshot/resume via mail to: Fatelink, 7083 Hollywood Blvd., 5th Floor, Hollywood, CA 90028 or email your headshot/resume to: casting@fatelink.com (reasonable size photos please). Please include the name of the role for which you’d like to be considered on the envelope or in the subject line of the email. Auditions will be held between Wednesday, November 14th and Tuesday, November 20th at our office in Hollywood.

Many thanks,

Hunter Lee Hughes

Writer-Director, “Inside-Out, Outside-In”

IMDb link here.

Some of our past work:

www.vimeo.com/channels/fatelink

www.youtube.com/fatelinkproductions

—

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Share this:

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)

Like this:

Like Loading...

A Breakdown Is Coming!! (And no, not the emotional kind….) – Five keys to success…

09 Friday Nov 2012

Posted by hunterlh in Casting, Pre-Production

≈ Leave a comment

Tags

casting, casting for independent films, director's pet peeve for casting, how do i get an acting part, how to submit to an acting breakdown, indie film casting, inside-out-outside-in, playing gay, risks of playing gay, straight guys playing gay, submitting for acting breakdowns, tips for getting cast, tips for submitting to breakdowns, top five actor pet peeves, top five casting pet peeves, top five pet peeves of director about actors, writing character breakdowns

Next week, I’ll release a breakdown of some of the characters from “Inside-Out, Outside-In” as I cast our December reading for invited guests and potential investors. I’ll be putting the breakdown right here on the blog, as well as on our Facebook fan page a few days before sending it out over traditional avenues like Breakdown Services to give our motivated collaborators and fans a chance to get the one-up on submitting for parts.

What is a breakdown exactly? Well, it’s a summary of short descriptions of characters and their essential qualities for the purposes of casting, along with some contact information. Filmmakers send them into the world with the hopes that agents, managers and quality actors will submit candidates (or themselves) to play a part that matches what we’re seeking. Here’s an example of a breakdown from the web series “Dumbass Filmmakers!” – Fatelink’s last project.

Character breakdown for “Dumbass Filmmakers!”

There are a few questions that naturally come up when writing these breakdowns. First of all, how much information do you reveal about the character? How much plot? I generally think fears of other people stealing your ideas are a bit paranoid. Let me clarify. I do think people might try to steal your ideas and characters, but the chance for them to pull it all off before your film is finished is not too high. And good luck to them! But still, as an artist, one of your assets is knowing what you’re trying to build, while others do not. So while I don’t like to fall into the trap of being paranoid to reveal any information, I don’t want to reveal too much. And plus, at this level, you need people to get excited about the project and become a little curious about it, so giving out a little information works in your favor. If you’re already Woody Allen, well then, you probably think I’m a dumb shit and aren’t reading this blog anyways, but if you are in that position, I don’t blame you for keeping everything about your story an absolute secret.

In terms of actors submitting to breakdowns, here are my pet peeves as a director. So I offer them with the hopes that they might help somebody more effectively respond to a breakdown, mine or anyone else’s.

Top Five Director’s Pet Peeves at Dealing with Breakdowns (and how to successfully navigate them):

1. Receiving submissions that are “way off” in terms of the character description. Trust me, I’ve given a lot of thought to why a character is a certain gender, age, nationality, temperament, etc. So please don’t completely disregard the breakdown and submit yourself if you’re clearly wrong for the part. And if you are going to gamble and submit against the character type, take the time to explain to me why you believe you’re right for it even if it goes against some major part of the description. (In my life, I have changed a character from male to female once based on an actress’ audition, but this is rare and she was right for the part in all the other aspects). If you at least offer an explanation, I know that you have something in mind, rather than just rudely disregarding what I said that I needed.

2. Receiving high-resolution photos that mess up my email account. Please be kind. I’m dealing with an email account that has a limited capacity for space. So if you send me your headshot as a 24 GB file, I’m going to hate you for a minute and may not even wait the requisite time for it to download. And here’s a hint – if you send in a hard copy of your headshot/resume and I like it, I will file it and keep it. And I do go over those files every now and then. Maybe it’s retro, but if hard copy is available as a submission option, I believe it’s worth it. If you don’t know how to size down your headshot to a jpeg of reasonable email size, please teleport back to the late 1990s.

3. Feeling “guilt-tripped” by friends trying to get a part. If you’re my friend, I already think you’re talented and amazing, so don’t ask me to prove it by giving you a part out of guilt. “Hey! You’ve NEVER cast me in anything,” complain some people. Or others, “I came to see both your plays! Isn’t it time we worked together?” I value my friends. I value people who support my work and take time to see it. And I want to work with my friends, all things being equal. But hey! I don’t owe anyone a part. And it’s not fair to guilt me into casting you. If you’ve supported my work in the past only to get a role in the future, well at least be savvy about that and don’t tell me. Know that if there’s ever a part that’s on-the-money for a friend that I know can hit it out of the park, you will likely get the part, all things being equal. If I’m not sure you’re on-the-money for it, it’s just business and we have to see if it will work out or not.

4. Liking an actor for the part, only to later discover he’s unavailable for the dates required. Listen, I know these sound like basic things. But believe me, actors disregard them all the time (or the agents do by not knowing the schedules of their own actors). Our reading is going to take place in December. So if you’re going home to Nebraska for the entire month, please do not submit! We’ll catch up on the next project, the next breakdown and c’ la vie! I really do understand the desire to expand your network or take an audition just for experience, but when you do so knowing that you are ultimately unavailable to work, you are in bad faith with the casting director/producer/director calling you in and this is a reflection on your character. And to an indie film director, character counts because we often don’t even carry insurance on the actors, so we are relying on you to be truthful and forthright about your schedule. So I say, “Don’t submit unless you are available for the dates required!”

5. Having actors flake because they are uncomfortable with the material. Listen, I have produced a number of projects and films with an LGBT element. I’m also from Texas and a family filled with “red state” Christian conservatives. So I really do understand if an actor isn’t comfortable with material I write. If you see in the breakdowns that it’s a gay character, then it’s a gay character. I’m not going to change it. And if you don’t want to play that character, don’t submit for it in the first place. Or, if you do submit, then read the sides and decide you’re not comfortable, simply call and cancel or email and cancel with enough notice for us to fill your slot. What is not cool is being so uncomfortable that you can’t man up (or woman up) and let us know you’re not coming to the audition. It’s also very rude to your fellow actors. That slot could’ve been filled. There are plenty of amazing actors – gay, straight, bi or questioning – that have no issues playing gay roles. And one of them could’ve auditioned for us in your place. A no-show/no-call is almost a 100% guarantee that you won’t be called in for anything in the future. Again, as indies, we don’t always carry insurance on the actors and I simply can’t risk someone flaking and not showing up on set. If you’re uncomfortable with the character, but  cancel your audition respectfully, I might get a better sense of you and might bring you in for something different the next time around, no hard feelings. That’s how we do it in Texas.

Ok, so that’s my advice for submitting for roles and avoiding running into a director’s pet peeves (at least this director’s pet peeves).  Now, look out for the breakdown next week, which will be released to this blog and to our Facebook fan page. And hope you all keep making movies.

—

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Share this:

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Tumblr (Opens in new window)
  • Click to share on LinkedIn (Opens in new window)

Like this:

Like Loading...

Recent Posts

  • We’ve moved!
  • Co-Creating With Your “Audience”
  • The Voice of Your Film
  • New Film Distribution Models – 7 Ideas
  • The Duty of the Artist

Archives

  • December 2018
  • January 2017
  • October 2016
  • September 2016
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • June 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • August 2012
  • July 2012
  • May 2012
  • April 2012
  • March 2012

Categories

  • Budgeting
  • Casting
  • Development
  • Financing
  • Interviews
  • Post-Production
  • Pre-Production
  • Production
  • Release
  • Scheduling
  • The Script
  • Uncategorized
  • Wardrobe

Connect with us….

Connect with us….

Twitter Updates

  • How can you as a storyteller or #filmmaker empower yourself to navigate the funding of your passion projects? One s… twitter.com/i/web/status/1… 3 months ago
Follow @fatelink

Subscribe...

  • Vimeo
  • Youtube

Blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • Inside-Out, Outside-In
    • Join 43 other followers
    • Already have a WordPress.com account? Log in now.
    • Inside-Out, Outside-In
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: