Filmmaking / Directing

So you are telling me to experiment and do it right now? That’s crazy because seriously where can it go

Well there is reelshorts.com and it's not commercially successful (and won't likely be since it's all user-generated content). Audience doesn't care about about vertical versus landscape, they care about story and connection with the characters. The vertical format is good for ephemerals, which is where it is at the moment, and for marketing, which is where it was developed from (ie. video billboards). But it has serious issues with framing, not least of which is that we don't see that way - our natural visual range is similar to 16:9. Watch some of the reelshort.com spots and you'll quickly ask yourself... why are they forcing this story into a vertical frame, because it's so hard to warch.

Hi there,

Congratulations on being in line to direct your feature that’s such an exciting step, especially when it’s a story you didn’t write yourself. Your post really resonated with me.

I’m a film composer and sound designer working under the name Cosmic Call. I love diving into a film’s emotional core to reveal its unseen dimension through music. My work blends violin, acoustic textures, and electronic soundscapes, creating cinematic and immersive atmospheres that serve the story’s psychology and tone.

If you’re looking for a distinctive musical signature for this project, I’d be thrilled to connect and discuss your vision and the emotions you’d like the score to explore.

You can discover my musical world here:

www.cosmiccall.fr

YouTube https://www.youtube.com/@CosmicCall432

Looking forward to hearing more about your film,

✨ Patricia Chaylade / Cosmic Call

Composer & Sound Designer

Hey, Brandon Keeton! Congratulations on being in the running to direct the feature! As a screenwriter/ghostwriter, I ask the director or producer questions about the story and questions about the production (like where it'll be filmed) so we're on the same page.

Find your local film and theater Facebook groups and post there.

If you are a beginner then go to canva and search for casting call design, customize it with your requirement like required actor details including height, colour, age. provide your contact number, email. Ask for a audition clip to send via mail.

Post in different social media platforms, shared it with friends so that they can also share it with their groups. eventually you will able to get calls and mails. Meet them personally according to satisfaction. Then you can finalize

Backstage and local Facebook groups are great starting points! Also check out Actors Access. Wishing you all the best with your short film!

Gale Grande The Casting Network, Breakdown Services "Actors Access" - I personally wouldn't use Backstage because they try to will charge you (as well as the actors) and they are very low results now, compared to what they were back in the day.

That’s crazy I was a PA on bus stop in college. But I know a guy in SA TX that wants to do film. Idk how much help I’ll be

This should be a blast to attend!!

I hope everyone has a great time and has success at AFM 2025, Ron Reid! I'm looking forward to hearing everyone's experience!

That’s a great point, Maurice — combining locations is such a clever way to stretch a budget. It’s amazing how a few simple changes in set dressing or camera angle can completely transform a space. Thanks for sharing that tip!

Absolutely, Martin — I love that mindset: limitations as design prompts. It’s such a creative way to look at it. As for lighting tricks, I often rely on bounce light from practical sources — a lamp, or even a white wall — to create natural-looking depth without extra gear. How about you?

Couldn’t agree more, Jack — the right location can do half the storytelling for you. I love how unique architecture or outdoor textures instantly elevate a film’s visual tone. Smart scouting really is an art form

You're welcome, Vincent Weberink.

The passion behind the filmmaking to tell a story!!!

With so many more new productions being shot in the UK these awards are going to matter more and more.

I use mood, feelings, characters, situations, objects, places, and themes in my scripts to make emotional connections with my audience, Geoff Hall.

I agree that what a film - or any piece of art - means to an audience or any person in an audience is none of the creator's business. Art occurs when there is a complete communication. If a tree falls in the forest and there's on one to hear, does it make a sound? No, it doesn't. Sound happens when something projective interacts with something receiptive - and art is the same way. As for mood and feeling being part of it - of course it's unavoidable that there is a mood projected in your film. I don't think that can be adequately conveyed in a script, outside of dialog and action like anything else. It's the director's province, no? So a writer-director, or a director working on an outside script will naturally do that.

https://www.youtube.com/watch?v=w2zRZPLSlyU -- I found this about Kubrick.

Hi, Behnam Hojati. Some of your post didn't show up. You can edit your post by clicking the downward arrow to the right of your name, selecting "Edit Post," and reposting the text.

Thank you for your help

You're welcome, Behnam Hojati.

Behnam Hojati Rhythm and timing is vital of course. I hope you are sensitive to performance within that mix. Because audience connects ONLY with people and performance. So pacing and timing must support performance. Too often, the technical editor gets caught up with a visual pacing that undermines performance. When that happens, the edit succeeds in spite of the pacing, not because of it. For example, I have worked with many truly great actors, whose performances are remarkable. One observation I made, that is all too common, happened when shooting Shark. I watched in awe as James Woods delivered a speech to the jury 7 takes in a row, each take with an entirely different delivery, each take astoundingly powerful. The takes were to give different approaches, not for any error in delivery or problem with camera or sound. Watching his performance, which was immaculate, I knew that of all his great performances I had seen in the past, many had been rendered less effective by obsessive cutting - pointless reaction shots, or other cuts made on the assumption that people can't bear to watch something for more than a few seconds at a time (Which is nonsense). This is something that as a director I had known already, and was sensitive to in the edit process, but it drove it home hard.

Shadow Dragu-Mihai, Esq., Ipg

Thank you, Shadow I completely agree.

Sometimes editing has to serve the story and the performance rather than the rhythm itself. When a scene carries genuine emotional weight, cutting too early can fracture the narrative and disconnect the audience from its pulse.

A strong performance deserves space to breathe — that’s when rhythm becomes storytelling, not just timing.

— Behnam | 7stcut

You know! as a believer, a calming before the storm, yet "THE STORM" that has encompassed all there is to identify; I UNDERSTAND THIS!!! I am an empath!! a holistic soul, spiritual, yet understanding, and all that takes on "UNDERSTANDING " at a level it no longer is understandable!!! I AM A CREATIVE yet I somehow, somewhat understand!!!! I AM A CREATIVE!!!! I have never admitted this allowed ESPECIALLY in such a "OPEN" forum that will most likely ridicule me, and mock me, BUT I GET DOWN SOULFULLY on a level most won't or can't comprehend!!! AND THAT IS WHERE TRUE STORY TELLING COMES TO LIGHT!!! I am HERE!!! for ANYONE, especially on an "empathic" level can come to feel safe!!! I don't always feel "safe" but I am sure in what I know; I'm still learning, HOWEVER WE CREATIVES are worthy, and so much more than what we think!!! I NEED TO TALK!! FIGURE OUT MY ABILITIES and connect with ALL like minded creatives!! ARTISTS!! All are welcome!!!

Thank you, Amber — your words resonate deeply.

True creativity often begins where reason fades and feeling takes over — in that quiet, uncertain space between light and shadow.

Your openness is powerful; it reminds us that empathy itself is a form of art.

I love that, Maurice — sometimes the real story hides in the background. A single face out of focus can spark a whole new world.

You're right, Franco Decker. And it doesn’t have to be a movie. You can look at people in the background of shows, commercials, video games, sports games, photos, and videos, and the news, and get ideas for stories.

Exactly, Maurice! Sometimes it’s that random person in a commercial or a quick news shot that suddenly turns into a character in your mind. The smallest moments can start a whole story.

Hey Yanina, The way you tease pre-loss grief? Let’s trade secrets on turning history into gut-punch romance.

Thank you! I appreciate your perspective.

Right now I’m focused on developing my own project,

but I wish you success with your work as well.

Thanks, Yanina Koroleva. I'm looking forward to seeing Virginia — Love Has No Barriers! I hope you have success with it!

And it's Stage 32's November Write Club. It's a chance to connect with writers, directors, producers, etc., and it could help you reach a goal(s). There's going to be prizes too. If you're interested in joining, check out this blog to get ready for Write Club (www.stage32.com/blog/the-11th-annual-november-write-club-is-almost-here-...). The blog for Week 1 of NWC will be out Monday.

Maurice, thank you — I keep noticing your thoughtful comments everywhere. It’s rare to see someone who consistently supports writers with such genuine care. I truly appreciate you taking the time.

And thank you for letting me know about the November Write Club. I’ll definitely take a look. It sounds like a great way to connect more deeply and keep momentum going.

I hope Virginia — Love Has No Barriers continues to grow in the right hands — and I look forward to seeing more of your work as well.

You're welcome, Yanina Koroleva. Thanks. Looking forward to collaborating with you one day!