Filmmaking / Directing

Rest in Peace. On my Mt. Rushmore of directors for sure

From "Blue Velvet".

Tiptoes to my room every night/

Just to sprinkle stardust and to whisper/

Go to sleep, everything is alright...

Sleep soundly, Mr, Lynch.

We lost a legend, such a remarkable director.

All I can say is thank you, Mr. Lynch for all the stories you wanted to share with all of us.

Your legacy will forever be remembered.

Rest in peace, and thank you!

David Lynch’s dreamlike worlds that made us see reality in a completely new way.. His passing leaves a void, but his influence will continue to inspire us to embrace the weird and wonderful aspects of life and art. Rest in peace.

Gillian Yong I wonder if we are losing the artist’s view of filmmaking, Gillian? Artful films seem to be viewed as high-risk and don’t draw the investors, but then perhaps we have to make them with a lesser budget in mind and not write expansive stories expecting them to be high-budget extravaganzas?

I loved what he said in the clip from the Patti Smith interview: “Do what you believe in and do it to the best of your ability.”

Great insights, Vincent Weberink! "A great film won’t succeed without a solid marketing strategy." There are a lot of great movies I didn't get a chance to see until years after they got released because I didn't know about them/I never saw promo for them. Not even one ad, promo video, etc.

Fantastic insights, Vincent Weberink. All points are valid and worthy, although I would say that in this day and time, everything stems from #1. It's vital for all artists, not just filmmakers, to understand the business and the market. The more you know, the more value you bring and, quite honestly, the easier it is to sell yourself. It's one of the reason I urge filmmakers, screenwriters and even actors to take producing webinars and classes here even if they have no intention of producing. The knowledge you'll gain will be invaluable toward your networking and when you get in a room. You'll be a standout instead of just another number.

True that's Willem, that's why "Babygirl" (at least partly) is refreshing.

I wonder if Welles was annoyed by anyone in particular? De Palma? Spielberg?

It's hard to calibrate the innovation of Citizen Kane in it's moment and the effect it had on cinema. Can be tough to live up to that aura. But the film is amazing IMO and holds up on most every level. Some of his other work is also astounding (A Touch Of Evil, The Stranger). But commerce can find it's way into the conversation. I LOVE and have the utmost respect for Wells, but even he "sold no wine before it's time" in the late 70's.

PLEASE NOTE: Orson Welles died in 1985 and A24 was founded in 2012, SO Welles did not and could not have been the one to say what is within those quotes. Please take a minute and edit this to confirm who DID say what was said in the above quote so that we are not misrepresenting what people are saying. IF this is what you, Willem Elzenga are saying, then edit it to remove the quotes, and then we'll know it's your opinion, not that of Orson Welles.

Thank you!

Its a quote from @Shendersons3003 on Youtube that goes along with this video - if you go there you'll see it has many likes ands some respons. I merely highlighted it here on Stage32, as I think its an interesting take on the (2) Welles video(s), current cinema and the ongoing discussion here on this platform.

That is messy, Mike Boas! Looks great! I'm looking forward to seeing FRENZY MOON!

all digital gunshots? this is so un American. Practical effects need to make a comeback im so sick of this CGI bullshit

Wow, that's so neat, Mike Boas! Keep the updates on your project coming!

THANKS MAURICE for letting me KNOW!! I was really thinking the Director's Lounge was OFF

LIMITS -- MIGHT have to check that out later!!

You're welcome, Sherri ZImmerman.

hi Arvid,

I don’t want to rain on your aspirations but both writing and directing are hard to break in, but it doesn’t mean you can’t,

1. As a writer, write 6 or so features of pilots and get them critiqued and approved by eg Stage 32 or Road map writers. Enter worthwhile comps and try to win placements or awards. often Producers will pick up on you if you get through to top festivals (bafta. Oscar accredited ones etc)

Enter pitch fests and try, try, try.

2. As a writer/director add producer on to your skillsand fund and produce your own work. or pair with a producer if you can find one, to get your work out there.

Rarely do people want or hire Directors, they all want to direct their own work . if someone is looking for a Director they usually want a high profile one. So that’s a conundrum as you have to have a body of award winning or high flying work. You have to work up in steps and the easiest way in any country is to make your own work. pair up with others or just go maverick on your own. Good luck.

Jane Sanger your input is not inspiring at all, typically old school and yes you are raining on his aspirations. You simply assume to much.

Arvid Mahieu After filmschool I started a company with money from a fast-growing internet start-up. I produced dozens of projects in three years by picking up the phone and getting out there. And then I became able to direct some of those projects too, I hired myself as a director. It also brought me in the US, Canada and several European countries, but still working from out of the Netherlands. After that I did several no-budget shorts in order to develop my skills, did photography, writing and fine art. I have an entrepreneurial apporach towards directing and have a can do mentality. I think it depends a little bit on how high you raise the bar. Also I had set backs and endured lonely days and had years in between that I coulnd't make a living out of it, but than I went out and applied for a regular job, while honing my craft in the dark little hours..I network here on Stage32.

A great way to make a living is getting on a roster at company that does ads. Film ads for the company to make a bucket of cash, some of which you can contribute to your next projects. Start small and scale up over time. How you get on a roster? Get out there and meet people at film events, festivals, networking meetups, etc. If you have a strong portfolio of intriguing low budget work that looks professional quality, they will think of you when the time comes.

Hey everyone, thank you all for the insights, I'll definitely make note of it. Starting a company Willem Elzenga seems easier said than done haha, but I'll look into it.

I think indeed a good way to start then is making ads and commercials.

Thank you all.

Great advice from everyone here. Ultimately, making content is the key for directors. There are many types of directors so there are many ways to approach it. If you excel as a DP or Production Designer, you may get an opportunity. Taking an acting class is important, IMO, as directors must work so closely with their actors and understand process - plus its the best place to meet actors that you can build trust with who may show up for you on a project. And making short films, commercials or an indie feature (even a micribudget or no budget feature) to show off your technique and story telling capacity is what gets attention from financiers and studios. In my experience, if you can create a relevant moment (winning a festival) or be a part ofo a relevant moment (working on a film that resonates) then opportunity follows.

David is doing such an amazing job in this AMA today! Flagging for my network so they go in and ask David questions.

That's a great reason to take BTS photos/material, Pamela Jaye Smith! You get to relieve memories of being on set.

I like that, Sam Sokolow. Staging Access Hollywood type of interviews. How long are they usually?

Just stills BTS.

For promotion/marketing. Keepsakes for cast and crew. Blackmail.

"Blackmail." I'm calling the cops, E Langley.

Maurice Vaughan - it varies on length but I usually 5-10 minute interviews as the sound bites you need are really 15-30 seconds each. Just get the high level questions about the film's subject matter, the director's vision, the actor's characters and their approach, what's been the biggest challenge, the biggest reward, the camaraderie on set, etc.

I have pictures too but I won't have them in the one page with all the text. My situation is unusual in that my script is not yet written, I am solving its structure at the same time as the pitch deck but have yet to write the script. I work a full time job making it difficult to spend enough time on my scripts so I am hoping the added pressure helps propel me to get it all done.

Natalie Diorio the video of class 1 is available and can be found in your "my library" area of education

Natalie Diorio Fun too, no matter what happens down the road.

Not sure why it would be public

Hi, Natalie Diorio. I'm a Lounge Moderator. This post is in the Filmmaking/Directing Lounge. The post isn't private. It was made six months ago to promote Sara Elizabeth's lab, but you all can chat here.