How Not to Make a Short Film-Book Review

When reading "How not to make a short film" I felt more and more deceived, not by the book, but by my film school. Why didn't my teachers teach me that? It is a book that every film student has to read to every filmmaker before writing, producing or directing a short film. It is an important resource that guides through the precarious decisions of the cinema and shows how to avoid the many errors of judgment that characterize mediocre films. Roberta was written by Roberta Marie Monroe, an award-winning filmmaker and former short film programmer at the Sundance Film Festival, and brings a wealth of knowledge to every phase, from concept to production to distribution.

For filmmakers, film festivals are the main media and have become judges, judges and sometimes executioners when judging the value of a short film. Knowing what not to do can greatly increase the chances of your work being seen and valued. In this regard, the book takes you through the minefield of mistakes that aspiring filmmakers and seasoned professionals have made, so you don't have to make them yourself. The book also includes interviews with many of today's most talented screenwriters, producers, and directors, as well as provocative stories from Roberta's short film experience.

The book is presented most pragmatically and follows the normal steps to produce a short film. The first chapter in the story of the screenplay deals with updating and lists many stories to avoid, stories that have become commonplace due to overuse. When programmers say, "I was there, I saw it," you lose it, as do your audience. I found this chapter more fascinating because it allows us to think about history, and why should I see it in the mind of the programmer and the main selection criteria? This chapter also deals with script evaluation, e.g. B. hiring a consultant and the advantages and disadvantages of receiving feedback from friends.

Another chapter describes the length of the film and how it should fit the story. DP Geary McLeod comments: "Every picture has to work, it has to advance the story." Economically "filmmakers have to remember that". The book also points out that compared to a 28-minute play, it is also easier to find space for an 8- to a 12-minute film. Meredith Kadlec adds, "Don't fall into the trap of trying to demonstrate a lot of what you can do, but show how well you can do it."

"How Not to... " covers a wide array of filmmaking considerations, from picking a producer, knowing their duties, to budgeting, plus ways to save money and raise funds. The chapter about crewing up is more relevant for new filmmakers. Discuss a film team's synergy and how it can direct its efforts and deal with the ever-changing dynamics. This chapter describes the key positions, the people you should consult before filming and the issues that need to be addressed. The chapter reaffirms the need for harmonious cooperation and the fact that it cannot do everything on its own.

All of these considerations may seem daunting at first, but if left untreated, your film will suffer. After reading this book, I felt overwhelmed by the variety of responsibilities. But then I remembered Roberta's mantra that you have to have good people around you, and this book contains instructions for choosing your support team.

Casting is another area where the author suggests asking for help. It goes through the process of finding and hiring a casting director with the reasons for it. You might expect casting directors to avoid short films, but many see it as a way to offer work and contact with their customers, especially those with great potential. This chapter also offers advice on auditions, rehearsals, and creating a safe space for his actors. Actor Chase Gilbertson explains how neophyte directors sometimes diverge. "When I make your film, the story was, of course, good enough in the first place, but now instead of just telling a good story, try to make a Hollywood blockbuster. Yes, you have a lot of great toys, but ultimately what is it the Bottom line? What happened to the story? "

The production chapter describes many precautions related to the overall experience, as well as creative solutions to some of these problems. One of the best was to use New York calls to outsmart a harmless business owner. Other problem areas dealt with are the etiquette and setting on the set, insurance, and permits, meals, and handicraft services. What was particularly important was Roberta's advice to have a good time, prepare and enjoy the magical moment of a filmmaker.

Post-production is the love-hate relationship of the cinema. All that gets mixed is the sequence you like, followed by the worst settings, lighting, performances and the blockade of your life. Roberta repeats several times: "It is normal." He also suggests reading Walter Murch's book "At a Glance" to get some great ideas for the editing process. Knowing how the assembly works are critical to your success on the set, she says, because you'll then know what shots to take to tell your story. This chapter also explains how technology has made filmmaking less disciplined, that is, shooting more footage, editing faster, and finishing with more versions while wasting work.

Roberta sees an MPAA report stating that only 2% of all feature films offer theater or DVD releases. From this, it can be concluded that the worldwide distribution of short films could be even more difficult. Orly Ravid of New American Vision points out that the distribution process begins before he makes his film. You need to know who the audience is, make the film attractive beforehand, and have compelling illustrations or marketing photos that sell the film. Orly also advises on budgeting funds for marketing and distribution. This chapter deals with many distribution channels but states that his short film can also have the value of a television pilot or if it develops in a role. The valuable Orly questionnaire "Is your film sales finished?" It covers the most problematic and neglected areas. Information on the qualifications of the academy can also be found in this chapter. Roberta makes it easy to find short distributors by posting an updated list of U.S. and international companies on their website.

The chapter on the Sundance Film Festival provides an informative background and effective presentation strategies. A helpful list of what Sundance program director Adam Montgomery should and shouldn't do