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The Lucas posted:Can you go over the roles of Producer and Executive Producer for me? In a nutshell. The Producer is the money, they're the ones securing the deals in regards to negotiating with agencies, distribution and studios in order to find the best way to create the director's vision without loads of cash (some of it their own). They are the overall co-coordinator of a production and actually can fire a director if stuff starts going really bad. The executive producer has two versions, TV and film. With TV you will usually have multiple EP's as they could be from the writer, the creator of the concept or someone who provided a decent chunk of financing. With a usual serialised show the director always changes per episode so the EP is the one guiding the look and content. For film it's usually a way to credit someone who's the head of finance or management at a studio but has no direct input into the film. Usually if that person has optioned off a concept or the rights it's the way they are credited.
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Jan 31, 2011 01:47
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Also you have subsets of producers like "Line Producer." This is usually the person that handles stuff like day to day operations. They usually manage the budget and make sure things are running smoothly (typically non creatively).
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Jan 31, 2011 01:56
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NeuroticErotica posted:Everybody who talks about doing this talks about throwing in a script "they don't care about". If you don't care about it why should anybody else? When money is involved, it is possible to create something that you aren't exactly married to, that other people still really like, with the hopes of getting paid. I'm willing to bet that every script that has ever been purchased was not written with equal amounts of effort or care.
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Jan 31, 2011 02:20
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Could you discuss anything in the sound department as far as being an audio/sound mixer for film? I have a lot of experience in recording studios recording bands and I was wondering how big of a shift it would be/how to get into it. I'm guessing it's pretty much like anything else as far as just doing it/networking. What should I look into purchasing if I wanted to get into it? A small audio mixer, boom + shotgun mic? What are the must haves or industry standard that every audio mixer should have?
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Jan 31, 2011 07:46
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It's pilot season again! What's the best way to get in as a PA on one? Simply calling studios and asking for the production office of a pilot doesn't always get the same results it would if you were looking for an established show. The operators don't always know where to connect you. And yeah, I know the answer is really know somebody.  Ugh... I need a job before Sallie Mae sends someone to break my legs.
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Jan 31, 2011 09:52
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Peacebone posted:Could you discuss anything in the sound department as far as being an audio/sound mixer for film? I have a lot of experience in recording studios recording bands and I was wondering how big of a shift it would be/how to get into it. Well it depends what sound department youd want to be in. Theres post-production and production sound. Post production is definitely more along the lines of what you are doing already, but if you want to get into production sound than there is definitely some new stuff you'll have to learn. Recording live sound in an environment, especially a location is a lot different than doing sound in a music studio. There are a lot of similar things of course, but its a different beast for sure. As far as products go, it can get expensive. If you are looking for freelance stuff than its going to be pricey if you want to really get into this. If you have nice equipment, people are very willing to pay good money for production sound mixers because its something they just do not understand. Most people are dealing with image. There are actually people at my film school that use our schools equipment for freelance stuff and make some great extra money. You can rent stuff, but Id recommend getting some stuff so you can learn. This is the very basic mixer we have, there are definitely cheaper but if you are serious and want good gigs this is the kind of money you need to spend. http://www.sounddevices.com/products/mx2master.htm. Sound Devices makes incredible poo poo. You will need that, and a digital recorder, unless you are shooting on something digital that the sound is going straight into, like a Zoom H4. But really you want a mixer and a recorder. Check out B&H's field mixers and digital recorders to see your options. http://www.bhphotovideo.com/c/browse/ENG-EFP-Broadcast/ci/12158/N/4294550031 People are always looking for production sound mixers. Its kind of unique in a way. Image and sound are completely different formats, but have to be joined together in film, invisibly. Its waaaaaaaay more precise and way more delicate than image. The saying goes "You can fix a bad image but you cant fix bad sound". You will also want sets of different mics. Right now Id worry about a shotgun and some lavaliers. Get a cheap boompole and a shock-mount. If you do get into this and this equipment READ THE loving MANUALS and learn how to fix everything that could ever possibly go wrong ever. Holding up a set because of errors with digital recorders and sound problems(technical and environmental) can be painstaking. All I can say is be a swift and easy sound guy and people will loving love you. Get a friend or colleague to work boom with you unless you feel comfortable doing both or if there will be PA's on set to boom if you need. If people are moving in scenes and dialogue level changes you need to be mixing. AccountSupervisor fucked around with this message at 10:33 on Jan 31, 2011 |
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Jan 31, 2011 10:20
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And if you ever work on a project where sound is being recorded separately from the audio buy this. http://www.singularsoftware.com/pluraleyes.html It basically does a matching for on camera audio and wipes and replaces it with the stuff you recorded elsewhere via witchcraft. However it really only works if there's something like a clapper to synch it with, the worst cases are when there's wind or traffic that's drowned out the sensitive as buggery on camera audio, but it's saved me hours of manually syncing clapper marks.
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Jan 31, 2011 10:40
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WebDog posted:In a nutshell. This is mostly correct. In film, the producer is the person who pulls it all together. They might have the original idea for a film, develop the script, hire the director, find the money, oversee the physical production (day-to-day handled by line producer), and launch the film. The Best Picture award goes to the producers. A producer can either facilitate a director's vision, or could hire a director to facilitate his/her own vision (I'd say it is usually a combination of those two). Executive producer is either money or someone who was important in the development or production of a project (similarly associate producer, but less so). So, let's say a producer acquires a project from another producer who can't get the film off the ground; second producer might demand an EP credit.
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Jan 31, 2011 13:39
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In low level films, there will never be a budget for sound, to their detriment. They will never want to hire a boom op, which is bad because they really need their mixer to be MIXING. They will offer to throw random PAs and interns at the position, but here's the thing, that's not that great either. Booming is a skill too, and you can do it wrong. Even with a basic set of equipment, expect to be paid little at the bottom level of film making. No one is going to understand your job and you will have to explain things to them constantly. They are going to want you to use wireless mics everywhere, despite rarely being the best option, especially at their budget level, where the mics and receivers/transmitters on set are going to be cheap. You will probably be the last one hired and won't be privy to even a single production meeting, which means you are going to walk on set and find that they have tons of camera equipment, lenses, dollies, and cranes, and they expect you to handle everything they throw at you with your one shotgun mic and two mediocre lavs. They will not rent anything extra for you and if they do it will come out of your check. They will never scout their locations for sound, so plan to have to deal with uncontrollable background noise while shooting. Also, they will either go in expecting the sound to be poo poo and have a "fix it in post" attitude, or they will bug you about not wanting to have to do any ADR (as you are about to shoot a heavy dialogue scene from a super wide angle in a public park under an airport flight path...) Definitely invest in your own gear, know your gear back and forth. But also learn post sound and invest there too. Doing both would be super expensive to get into, but you could make a lot of money since people are almost always needing significant sound work at low levels. Also, it allows you to actually make a reel. If you only do production sound, a reel is kind of pointless, since either you would be handing them rough, unedited sound that no one but a post sound person would probably even appreciate, or you would be cheating and showing them finished stuff that has technically been edited by someone else and is actually only 50% your work. This won't stop people from asking though. Also, be prepared to cringe as low level projects your work on release themselves to the internet without any real sound editing, and proceed to use the worse takes for sound because it was the best for camera. Be prepared to sometimes be ignored on set too.
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Jan 31, 2011 16:26
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ugh who needs a PA in NYC? God January has been slow for commercial production
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Jan 31, 2011 20:37
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bows1 posted:ugh who needs a PA in NYC? God January has been slow for commercial production Everything seemed to die off after early October. That's why I gave up on NYC for the time being. My friends there are working at video stores and poo poo like that. I don't know how they survive (parents?) but it just wasn't worth it anymore.
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Jan 31, 2011 20:42
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Crackpipe posted:Everything seemed to die off after early October. That's why I gave up on NYC for the time being. My friends there are working at video stores and poo poo like that. I don't know how they survive (parents?) but it just wasn't worth it anymore. I was crazy busy all through november and december. I only worked like 5 days in January and have nothing lined up. Im going crazy
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Jan 31, 2011 20:47
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Crackpipe posted:Everything seemed to die off after early October. That's why I gave up on NYC for the time being. My friends there are working at video stores and poo poo like that. I don't know how they survive (parents?) but it just wasn't worth it anymore. Where do you live?
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Jan 31, 2011 20:48
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BonoMan posted:Where do you live? LA
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Jan 31, 2011 22:43
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bows1 posted:I was crazy busy all through november and december. I only worked like 5 days in January and have nothing lined up. Im going crazy I'm in the same boat; crazy busy before Christmas and after that I've only worked a week, with nothing coming up for another couple of weeks.
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Jan 31, 2011 23:04
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This thread is fantastic. Now for a question that is so simple that I dont think it has been asked yet simply because everybody but me knows the answer: What happens with all the movies at Sundance or any other big (or small) festival that don't get sold? Do they just get shipped off to the next festival? Get a self release online? Does the price drop until some distributor picks it up for DTV? On a related note, when the actors take roles in these films that don't get picked up is their bank-ability hurt in the long term or is it seen more like "eh, it was a 4 million dollar film. Sign them up for this big budget romantic comedy!"
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Jan 31, 2011 23:21
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1st AD posted:I'm in the same boat; crazy busy before Christmas and after that I've only worked a week, with nothing coming up for another couple of weeks. What are you doing in the mean time? My money is running out and I am going stir crazy. I keep hearing about stuff in February from the Producers I usually work with, but it still isn't locked down.
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Jan 31, 2011 23:31
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The Lucas posted:Can you go over the roles of Producer and Executive Producer for me? It's kind of a complex issue, but it essentially breaks down to this - EP - The guy who gets it greenlit Producer - Get poo poo done guy AccountSupervisor posted:God this is so loving true its sad, the end kills me. Editors are like the drummers of film making. Every Xtranormal video ever made summed up:  AccountSupervisor posted:Bad scripts still get made into movies and the writers still get paid. This is not about making good movies and anybody who thinks its anything other than a way to make money on a gamble is retarded. If Amazon studios is going to change the way movies get made and everything they claim to, they have to do it with a get-out-of-your-chair-and-take-notice movie. If they get a movie made and nobody cares it doesn't change anything. Peacebone posted:Could you discuss anything in the sound department as far as being an audio/sound mixer for film? I have a lot of experience in recording studios recording bands and I was wondering how big of a shift it would be/how to get into it. It's really different, I've seen a lot of studio guys try to switch over for some quick cash and it doesn't really work out. It's a different breed of dog. If you wanna switch up your career you can look at the other post (which, I'll say is a bit overly negative, we generally have a sound guy scouting as well) but, I'd say stick with one or the other. Same with the post side. I did some work for a record producer and it drove him insane how many times we had to go over and over and over a scene to make sure everything worked sonically. He told me that he'd never gone through a song more than 25 times, no matter who it was for or how big it got. He simply wasn't prepared for the jump in the amount of work it takes to make a scene come alive. WebDog posted:And if you ever work on a project where sound is being recorded separately from the audio buy this. I've used PluralEyes on stuff without a clapboard, just talking heads and such. Worked brilliantly. bows1 posted:ugh who needs a PA in NYC? God January has been slow for commercial production They still do production in NYC? Mr. Toodles posted:This thread is fantastic. It's not simple at all. So this is the problem right now - the marketplace for films, theatrically, has contracted, but the ~*~Digital Revolution~*~ has made there be a glut of 10,000+ feature length films made every year - 10K is just the amount submitted to Sundance. There's many more that know they don't have a chance but still get made. The shipped off to the next festival... well... that's not how the circuit works. Some go on to the next festivals - SXSW, Cannes and Tribecca being the next big ones, but that's only if they've submitted or been scouted and their right for the fest and get programmed. Last year Monsters sold out of SXSW, which was the first sale during the festival. Most of the time, you go and you play a number of high profile film festivals and distributors keep an eye on how much hype you get, if crowds come out and see you and how well the film is received. Past Sundance it becomes more of a courtship than the one-night-stand of a Sundance sale. If things work out you can still get picked up - Fox/Searchlight picked up a little film called Slumdog Millionaire after it played a few festivals. TIFF is the other big sales festival - but they generally won't program you after you've been at Sundance (By the way, we're assuming your film is stellar to get into all of these fests, which most often is not the case). You can also sell at the film markets - AFM in Novemeber and Cannes being the two biggest - a lot of films sell out of these places without playing festivals. AFM is kinda desperate and lovely now, though. A lot of people are pulling the Golan/Globus model of having posters and only making the film that sold the most. Distros are kinda tired of these antics I feel. Especially with 10,000+ products they can look through the entire loving thing and tell you if it's worthy or not. Still, people sell out of there. So let's say you've done the circuit and not dealt with the market so much, but your film is still really good and there's positive buzz from the bloggers and stuff, and you made the film SMARTLEY - let's say for half a million bucks. It's awesome. No real stars but whatevs. At this point you've pretty much come to peace with the fact that you're not going to see the inside of a theater unless you four-wall it (rent out the theater) and that's cool, whatever. At this point you'll start talking with people like Cinetic FilmBuff and IndiePix and other distros like that. They're smaller, they're not going to give you an up-front price, but they'll put you out on iTunes, Amazon, VOD sites and the like. A lot of people are taking these deals... ... But some don't. Here's where people use things like distribber and get to iTunes, Netflix, amazon by paying a fee and getting the money back themselves. It has it's pros and cons. At this point you've probably had the DVD replicated and are selling them on your website. You probably won't see a profit this decade, but hey, it was fun, wasn't it? But if you don't decide to go that route, you can shelve it, and take it up as a learning experience... Or you can do like most. Complain about how the film industry is too "corporate" (whatever that means), unfair, sling some anti-semetic slurs, complain about how they don't want real art, blame them and not you or your lack of understanding how the business works, or how you made a movie that appeals to only 13 people. Bow out in the most ungraceful way you can and end up as an insurance agent. There's a lot of options these days. Mr. Toodles posted:On a related note, when the actors take roles in these films that don't get picked up is their bank-ability hurt in the long term or is it seen more like "eh, it was a 4 million dollar film. Sign them up for this big budget romantic comedy!" Depends. If the movie gets picked up and gets put in 3,000 screens nationwide with a huge advertising campaign and nobody cares then the star's value takes a hit. However, if it had a limited release, rolling across the country hitting maybe 125 tops and doesn't really do much they're usually happy that they've got the artistic streak out of the actor and can get them more into bankable roles. NeuroticErotica fucked around with this message at 09:39 on Feb 1, 2011 |
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Feb 1, 2011 09:34
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NeuroticErotica posted:They still do production in NYC?  Harsh
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Feb 1, 2011 14:33
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bows1 posted:
When NBC canceled Law & Order Vanilla, I'm pretty sure every struggling off-Broadway actor screamed "gently caress!" in unison.
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Feb 2, 2011 22:08
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All Sundance 2011 Acquisitions, By Distributor and By Sales Agent http://www.indiewire.com/article/all_sundance_2011_acquisitions_by_distributor/?utm_source=feedburner&utm_medium=feed&utm_content=Twitter This kinda gives a landscape look at North American independents right now.
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Feb 2, 2011 23:58
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Do you/anyone have any stories about the 'Greed' portion of the thread title? Looking at stuff like the After Last Season trailer there has to be some pretty funny (funny-funny, 'how the gently caress did they get away with that'-funny or just plain 'why did they think that would work'-funny) stories about scams and dodgy corner-cutting in the movie business right?
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Feb 4, 2011 20:25
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NeuroticErotica posted:Incredibly detailed reply that was exactly what I wanted to know. Seriously, NeuroticErotica, thank you. Last question and I will go back to lurking: Everybody knows about the big festivals (Cannes, Sundance, Tribecca, etc.), but what about the small film festivals? I saw advertisements for two (festivus and estes park) and was wondering what the role they serve? Do filmmakers use them to start internet buzz in hopes of graduating to larger festivals? Do smaller distributors stake out these festivals to find a dark horse?
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Feb 6, 2011 05:54
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G.Rainmaker posted:At least I'm not pursuing journalism, esp print. The sad thing is, I am. Or were. I've wanted to be a screenwriter for a long time. I guess the question here is, once the degree is done (because gently caress it, I want to have something to show for this), even if I'm pulling double shifts at Subway is the 'screenwriter dream' possible? If you write something good, is it still possible that it'll be picked up? I'm expecting to write 100 scripts and waste a lot of money before I get anywhere, don't worry. I understand the workload is insane and especially in Australia where we...don't really have poo poo in terms of a film industry (we spawn stars, the occasional Animal Kingdom, but most of the successful stuff financially is awful comedies - which I am willing to write, by the way). If I truly love it, I guess, the question is whether it's worth it or not? Should I spend the money taking screenwriting classes? I've written a couple of short films which got screened to, well, not horrible responses, but I'm talking about taking the next step and making it every moment I'm not doing overtime at fast food to pay the rent and ramen. I've read the thread but I guess I'm looking for a more Australian point of view as I know it's certainly different and right now I'm not ready to relocate to LA for my 'big break' before I have something down here. But perhaps there's the answer right there. Any insight would be helpful, as I've gone from wanting to be a film critic to a screenwriter to both to realising that my degree is a crock (not the uni's fault, it's just geared towards television and radio) and that I want to write scripts. I'm not asking for a miracle cure as I'm already involved in a bunch of music projects and the hopelessness of that without connections mirrors quite a bit of what I've seen in the film industry, but I guess I'm just thinking out loud about something that has been eating away at me. I think I have the talent to at least pump out sub-par stuff on a regular basis as I write and think quick and I'm totally willing to dine on ramen for the next few years to realise it, I'm just trying to get some perspective. I mean hell, I'm a student and I eat ramen and fast food anyways in between sport and music (which I realise I may have to give up if I am to become serious) and I still write, but I'd just love an Australian point of view or some more insight into writers breaking in. The thread has been fantastic and enlightening but I'm still wondering out loud.
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Feb 6, 2011 15:49
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PTizzle posted:I guess the question here is, once the degree is done (because gently caress it, I want to have something to show for this), even if I'm pulling double shifts at Subway is the 'screenwriter dream' possible? If you write something good, is it still possible that it'll be picked up? It's possible in the way that people do get hit by lightning, but I wouldn't bet your life on it.
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Feb 9, 2011 21:21
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So in case anyones been wondering, the real purpose of awards season is to have a week of parties. LA was sluggish to say the least today.Pierson posted:Do you/anyone have any stories about the 'Greed' portion of the thread title? I was obsessed with ALS for a spell. ALS is about as perfect of a tax scam as could be. They took the investors money - about $40,000 - shot a project using phoney names and dodgy practices, charged themselves $5M to do the CGI work, then four-walled it in cities near major markets so they could claim they made a "best effort" to make money back in case of investigation. Essentially ALS used the studio's model - Hollywood accounting works exactly like that - here's the sheet for Harry Potter 6 showing how it lost money: http://www.deadline.com/2010/07/studio-shame-even-harry-potter-pic-loses-money-because-of-warner-bros-phony-baloney-accounting/ The number look huge, but they're essentially charging themselves to do their job. Look at the $200M+ "Distribution Fee" - that's for the project WB produced itself - they essentially wrote themselves a check right off the top. Mr. Toodles posted:Everybody knows about the big festivals (Cannes, Sundance, Tribecca, etc.), but what about the small film festivals? I saw advertisements for two (festivus and estes park) and was wondering what the role they serve? Do filmmakers use them to start internet buzz in hopes of graduating to larger festivals? Do smaller distributors stake out these festivals to find a dark horse? Unless they have a certain gimmick like appealing to a certain subgenre or demographic - I'd say there's actually little role for these festivals. Like people submit and go to them in hopes of meeting people that'll change their lives or get on wholphin or something like that, but I don't know of it happening too terribly often. There's always a minor-league festival going on, but companies aren't sending their people out to them. I know of a small one that paid a poo poo ton of money to get a lot of journalists out, so that they get exposure for themselves and the films - that's smart (theoretically, I don't know how well it paid off). But most of them serve as Chambers of Commerce trying to have some sort of event to bring in tourist dollars. I see horror stories like this: http://www.youtube.com/watch?v=Zf6f6cIKvCQ&hd=1 and I feel bad for the people involved, but at the same time... They should have done their research. This wasn't a festival that they're going to get distro at, it's not well known, if they want to go as a trip for fun that's one thing, but I don't know what they were trying to achieve, so I can't feel SO badly for them when things go wrong (don't get me wrong, I think the story is awful and they got hosed over, but I don't see it as the huge Greek tragedy that others do) PTizzle posted:The sad thing is, I am. Or were. I've wanted to be a screenwriter for a long time. Yes - Specs are being picked up every day. Getting it made into a movie... that's hard. PTizzle posted:I've read the thread but I guess I'm looking for a more Australian point of view as I know it's certainly different and right now I'm not ready to relocate to LA for my 'big break' before I have something down here. But perhaps there's the answer right there. I think this'll sum it up... Screenwriter John August ran this piece about not living in LA as a screenwriter... http://johnaugust.com/archives/2011/no-hollywood-for-him And, August seems to have basically ran it ironically. He introduces it and closes it by basically saying that the author is crazy and most likely destined to fail because he can't participate in "The Hollywood Game". I agree with August. I don't know how you would get managed without being here or having close contacts out here or visiting very, very often. As for screenwriting classes - i it's what you want to do, make the investment and learn how to do it. Most people look at it and don't want to make the first investment (an investment in themselves, really) and then wonder why they never got anywhere with their half-finished scripts that nobody ever knew about and complain about the game that they never got involved in.
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Mar 1, 2011 05:28
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NeuroticErotica posted:I see horror stories like this: http://www.youtube.com/watch?v=Zf6f6cIKvCQ&hd=1 and I feel bad for the people involved, but at the same time... They should have done their research. This wasn't a festival that they're going to get distro at, it's not well known, if they want to go as a trip for fun that's one thing, but I don't know what they were trying to achieve, so I can't feel SO badly for them when things go wrong (don't get me wrong, I think the story is awful and they got hosed over, but I don't see it as the huge Greek tragedy that others do) Wow, this was painful to watch. Especially knowing how excited they must have been to screen their film. The Gala was killer. It brought up memories of this: http://www.kickstarter.com/projects/109782381/three-times-a-lady-a-g-rated-romantic-comedy-featu
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Mar 1, 2011 09:56
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ynotony posted:It brought up memories of this: Sigh... I never know what to do with people like this... Both here and in real life. She just wants to make a movie that she would like to see, but she has no idea what she's getting into. She's just clueless. It's sad. I will say that she's prepared more than most by having a target demographic but "women" and "baby boomers" are too broad - not every baby boomer is going to open up the paper and say "A G-rated Romantic Comedy! This is what I've been waiting for!"
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Mar 1, 2011 10:13
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Just this week two more  documentaries were added to Netflix, which had no shortage of other documentaries about weed. Is it just my perception or are there really a shitload of marijuana-centric documenatries? Who keeps financing these things, stoner's with trust funds?
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Mar 1, 2011 14:07
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Gobbeldygook posted:Just this week two more No, have you ever been to a stoner's house? There's weed posters on the wall, there's t-shirts with oh-so-not-clever workings of 420 into them, there's the designer bongs, the vintage rolling paper ads, the magazines, the black lights, the "look at this while high" books, and so on. Stoners spend as much money showing off that they get high as they do getting high.
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Mar 1, 2011 19:52
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There was a documentary about weed produced at my school right before I showed up... but to be fair, weed accounts for 90% of the economy where I live so there's not much else to document. (Northern CA) I was surprised at one point to actually meet another film student there who didn't smoke weed. That guy ended up moving to LA and getting a real job. Coincidence?!
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Mar 1, 2011 21:16
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From: Grandma: re: fw: fw: Man who doesn't do drugs gets a job. Why can't you be more like man?
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Mar 1, 2011 21:37
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To be fair, I know a hell of a lot of stoners who are more successful in life than I am. Not gonna judge, it just ain't my bag, so to speak. Edit: To put it in perspective, one crew last semester found it necessary to start putting a note on all of their call sheets that said "please wait until after we wrap to smoke up." Nerd Of Prey fucked around with this message at 00:32 on Mar 2, 2011 |
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Mar 2, 2011 00:02
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Nerd Of Prey posted:To be fair, I know a hell of a lot of stoners who are more successful in life than I am. Not gonna judge, it just ain't my bag, so to speak. The film program I'm in used to be pretty bad about it, to the point where crews had to be reminded of this constantly. Luckily, my class seems to be really great about waiting until the job's done to smoke up, and the only guy who is constantly trying to get people to light him up on set no longer gets asked to be on set. I guess my point is that like in all areas of life, if you're going to do drugs you need to find a balance and learn to be responsible about it.
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Mar 2, 2011 09:52
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Does anyone have insight on how to get into casting?
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Mar 8, 2011 00:23
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Nerd Of Prey posted:To be fair, I know a hell of a lot of stoners who are more successful in life than I am. Not gonna judge, it just ain't my bag, so to speak. at least up here in Canada everyone smokes weed on film crews. Though the union guys always know to do it off the clock.
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Mar 8, 2011 01:30
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Bozz posted:Does anyone have insight on how to get into casting? Step 1. Fail as an actor. Best way is to become the asst to a casting agent and see how they run.
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Mar 8, 2011 02:06
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Bozz posted:Does anyone have insight on how to get into casting? Money quote from a casting director quote:In 1997 I was living in London. I had moved to London in 1993 after graduating from a small school in Indiana. I went to the London Academy of Music and Dramatic Arts for a one-year classical acting course and because I have a British passport, I decided to stay in London and live there for a while and try act professionally. By 1997 I had been in the West End, been in a critically acclaimed off-West End play, performed at the Edinburgh Festival, modeled around Europe (I was thin back then) and managed various restaurants in the grater London area. I was asked by a friend of mine to help out in a well-known casting director’s office. I needed the money and I thought it sounded like fun. Well after my first day in the office, I fell in love with the job! tl;dr: What NE said.
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Mar 8, 2011 02:17
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jeremy oval office posted:What's Lars von Trier like in person? -Just jumping in here like that question was directed at me. Hope nobody minds- I thought he seemed nice... A bit eccentric though not at all arrogant like the rumors you might have heard. He rides around the Zentropa studio lot in a weird camouflage golfcart. I've only met him once but my dad has had quite a few encounters. An acquaintance of mine and some of his friends got to do a documentary about Trier's first student film. He gave them an interview, his permission and everything... but after seeing an unfinished version, he pulled the plug on it. It was set to air on danish telly and my mate was annoyed because they had showed Trier an earlier version, which he had liked and ok'ed. It was this poor guy's big break as a documentarist so he was really bummed out. Last I heard they were still trying to get Trier's permission to air it. On another note. Good work, NE. Thanks for a very informative thread. Looking forward to going across the pond myself in say like.. 7-10 years.
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Mar 9, 2011 03:18
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Oh hey, serious film biz question for whoever might know this: Let's say I'm interested in adapting an existing story as a film. How would I go about figuring out who holds the rights? Is there just a list somewhere, or does it involve a lot of esoteric detective skills that only insiders know? Edit: I guess I could expand this question and ask what the whole standard procedure is (if any) for adapting a non-film property to film. Nerd Of Prey fucked around with this message at 08:54 on Mar 9, 2011 |
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Mar 9, 2011 08:46
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