How not to review a short film book

As I read “How not to make a short film”, I felt more and more deceived, not by the book but by my film school. Why hadn’t my instructors taught me these things? This is a book that every film student, every filmmaker should read before writing, producing or directing a short film. It is an indispensable resource that guides one through the precarious decisions of the cinema and shows how to avoid the many errors of judgment that characterize mediocre films. Written by Roberta Marie Monroe, an award-winning filmmaker and former Sundance Film Festival short film programmer, Roberta brings a wealth of insight into each phase, from conception to production to distribution.

For filmmakers, film festivals are the main means and have become judges, juries and sometimes executioners when it comes to evaluating the value of a short film. Knowing what not to do can greatly increase the chances that your work will be seen and appreciated. In this vein, the book walks you through the minefield of mistakes aspiring filmmakers and seasoned professionals make, so you don’t have to make them yourself. Additionally, the book features interviews with many of today’s most talented writers, producers, and directors, as well as provocative stories from Roberta’s own short film experiences.

The book is designed in the most pragmatic way and follows the steps that would normally be followed to produce a short film. The first chapter of the script’s history talks about keeping it fresh and lists a multitude of stories to avoid, stories that have become mundane from overuse. When programmers say, “I’ve been there, I’ve seen it,” you lose both them and your audience. I found this chapter more fascinating as it allows us to get into the mind of the programmer and the primary selection criteria, that is, what is the story and why should I watch it? This chapter also covers script evaluation, how to hire a consultant, and the pros and cons of getting feedback from friends.

Another chapter looks at the length of the movie and how it should match the story. Director of Photography Geary McLeod comments: “Every frame has to work, it has to move the story forward. ‘Cheap’ is what short filmmakers need to remind themselves.” The book goes on to point out that it is also easier to find a space for an 8 to 12 minute film compared to a 28 minute play. Meredith Kadlec adds: “Don’t fall into the trap of trying to show how much you can do, [show] how WELL you can do it. “

“How Not …” covers a wide range of filmmaking considerations, from choosing a producer, knowing your duties, budgeting, as well as ways to save money and raise funds. The chapter on Crewing Up is more relevant to novice filmmakers. He talks about the synergy of a film crew and how to guide their efforts and deal with the ever-changing dynamics. This chapter describes the key positions, the people you should consult before filming, along with the issues that need to be addressed. The chapter reiterates the need for harmonious collaboration and the fact that you cannot do everything yourself.

All of these considerations may seem overwhelming at first, but if left unaddressed, your movie suffers as a result. After reading this book, I was overwhelmed by the multitude of responsibilities. But then I remembered Roberta’s mantra that you need to have good people around you and this book provides instructions on how to select your support team.

Casting is another area in which the author suggests seeking help. She goes through the process of finding and hiring a casting director along with the reasons for doing so. One might assume that casting directors would avoid short films, but many see it as a way to provide work and exposure to their clients, especially those who have breakout potential. This chapter also provides tips on auditioning, rehearsing, and creating a safe space for your actors. Actor Chase Gilbertson talks about how neophyte directors sometimes go astray. “Obviously if I’m making your movie, the story was good enough in the first place, but now instead of just telling a good story, you’re trying to make a Hollywood blockbuster. Yes, you have a lot of great toys but in Ultimately, what is the end result?

The production chapter discusses numerous precautions related to on-set experience along with creative solutions to some of these problems. One of the best was the use of New York Calls to outwit a harmless business owner. Other problem areas covered include etiquette and attitude on set, insurance and permits along with food and craft services. What was especially important was Roberta’s advice to have a good time, be prepared, and enjoy the magical moment of being a filmmaker.

Post-production is the love / hate relationship of cinema. All mixed up is the footage you love followed by the worst shots, lighting, performance, and crash of your life. Roberta repeats several times: “This is normal.” He also suggests reading Walter Murch’s book “In the Blink of an Eye” for extraordinary information on the editing process. Knowing how editing works is paramount to your success on set, she says, because then you’ll know which shots are most important to telling your story. The chapter also looks at how technology has made filmmaking less disciplined – that is, shooting more footage, cutting faster, and ending up with more versions while wasting work.

Roberta sees a report from the MPAA that says that only 2% of all feature films actually secure a theatrical or DVD release. Hence it could be assumed that in the world of short film distribution could be even more difficult. Orly Ravid of New American Vision points out that the distribution process begins before you make your movie. You need to have an idea of ​​who the audience is, conceive the appeal of the film beforehand, and have compelling marketing illustrations or photographs that sell the film. Orly also advises budgeting funds for marketing and outreach. This chapter looks at numerous channels for distribution, but establishes that your short may also have value as a television pilot or when expanding into a feature. Orly’s invaluable quiz “Is Your Movie Distribution Ready?” covers the most problematic and overlooked areas. Information on academy qualifications is also covered in this chapter. Roberta makes it easy to find short distributors by posting an up-to-date list of US and international companies on her website.

The chapter on the Sundance Film Festival provides an enlightening background as well as effective presentation strategies. The dos and don’ts list by Sundance Programming Manager Adam Montgomery will help move the film further up the selection ladder. The section on advertising and marketing tells you what you need, basically a solid website, a stellar collection of still photos, and a simple business card that directs people to your site. Also, posting a trailer will greatly improve your ranking on Google and give viewers a better view of your work.

The remainder of the book is intended for sample budgets, top short film cliches, and an extensive resource guide. This guide includes listings for short film festivals, short film distributors, blogs, community outreach organizations, databases, as well as online broadcast and television companies.

“How Not to Make a Short Film: Secrets of a Sundance Programmer” vividly describes the enormous task involved in making movies. However, it shows how avoiding the many pitfalls can save time and money and create a short film that remains memorable in the minds of programmers and audiences. Well written and timely, I highly recommend this book as an addition to every filmmaker’s resource library.

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