We are getting ready to launch the 19th edition of the Raindance Film Festival with a stellar lineup of 100 features, nearly 150 short films from a record-breaking 36 countries.
Thats about 250 heart breaking stories from the participating filmamkers about how hard it is to make it.
Want more? I dare you: Read Filmmaking: The Terrible Job Everyone Wants
Showing posts with label Raindance Film Festival. Show all posts
Showing posts with label Raindance Film Festival. Show all posts
To LIve od Die In LA
One of the great thing about the Raindance Film Festival is you get to reconnect with filmmakers from all over the world - a bit like a mini-Cannes
One such filmmaker is Justin McGoldrick who worked his butt off here in London last year as one of our fabulous interns - and then went back to the States where he just finished another 6 month internship
He has written up some excellent advice
Read:
5 Things I Learned As A LA Film Intern
One such filmmaker is Justin McGoldrick who worked his butt off here in London last year as one of our fabulous interns - and then went back to the States where he just finished another 6 month internship
He has written up some excellent advice
Read:
5 Things I Learned As A LA Film Intern
Need An Excuse Fo A Party?
A bit over 10 years ago the UK film Council was created to disperse UK lottery as well as UK government money. Raindance started applying, not just to the UK Film Council heqad office in London, but to regional offices and related programmes funded by public money.
The first one, the second one, the one that wasn't even opened, the one that was late, the one that didn't meet criteria set, the ones unfairly adjudicated, the ones faitly adjudicated until two weeks ago, we received (to no great surprise) our 28th rejection - this time from film London's Audience Development Fund. Strange, because we definately met all the criteria posted and were better qualified than all but 2 of the 6 film festivals who did receive assistance. And this wasn't even for money.
which leaves me here:
Application 29 is currently with the BFI. They have a special fund for film festivals who have lost money due to the economic crunch. Do we ever have the qualifications for this one, and I wonder if the new team at the BFI will give us a fair look on this, our 29th application.
And on Friday we whizzed off funding application number 30 to Skillset with just 8 minutes to spare - number 30.
Now, I'm thinking - 30 rejections from public bodies in 10-ish years is course for celebrations isnt it?
And given that Skillset themselves say they take a good solid 8 weeks to consider applications (quick by most standards) that would put their decision and likely rejection right into September. Add a couple weeks for the usual tooing and froing - I'm thinking
God damn - Lets have a P A R T Y !
30 applications for support for Raindance!
30 rejections!
Timings about perfect to celebrate Opening Night of the 19th Raindance Film Festival
Lets Reject Rejection
And Party All Night!
Wednesday 28 September!
The first one, the second one, the one that wasn't even opened, the one that was late, the one that didn't meet criteria set, the ones unfairly adjudicated, the ones faitly adjudicated until two weeks ago, we received (to no great surprise) our 28th rejection - this time from film London's Audience Development Fund. Strange, because we definately met all the criteria posted and were better qualified than all but 2 of the 6 film festivals who did receive assistance. And this wasn't even for money.
which leaves me here:
Application 29 is currently with the BFI. They have a special fund for film festivals who have lost money due to the economic crunch. Do we ever have the qualifications for this one, and I wonder if the new team at the BFI will give us a fair look on this, our 29th application.
And on Friday we whizzed off funding application number 30 to Skillset with just 8 minutes to spare - number 30.
Now, I'm thinking - 30 rejections from public bodies in 10-ish years is course for celebrations isnt it?
And given that Skillset themselves say they take a good solid 8 weeks to consider applications (quick by most standards) that would put their decision and likely rejection right into September. Add a couple weeks for the usual tooing and froing - I'm thinking
God damn - Lets have a P A R T Y !
30 applications for support for Raindance!
30 rejections!
Timings about perfect to celebrate Opening Night of the 19th Raindance Film Festival
Lets Reject Rejection
And Party All Night!
Wednesday 28 September!
10 Key Film Trends for 2011
My 2 main pre-occupations are the Raindance Film Festival and the British Independent Film Awards. Every waking moment I, and the fabulous Raindance team, do nothing except watch films, read scripts and talk to filmmakers, agents, financiers and distributors.
There were a number of troubing and currently unresolved issues this year. The continued implosian of the world's bankers thanks to their indiscriminate greed coupled with awe-inspiring lack of judgement. I fear they haven't changed a thing, and that we could be in for another total whammy.
And secondly, what we are doing to the environment causes me huge concern. And finally, what of our personal freedom and the freedom of the internet as ably and aptly pointed out by the entire Wikileaks fiasco. In fact I think there are many things filmmakers can learn from Julian Assange's Wikileaks.
Here are the key things we think matter to the world of independent film, in no particular order:
1. Alternative Content in Cinema
Digital and 3D screens are being installed in many British cinemas in a trend which will sweep the world.Read the rest...
18th Film Festival Heats Up!
We're 18 this year - Barely Legal!
If you want to see an article about the talented team that made this years 18th Film Festival trailer
We expect delivery next week! We are so excited!
If you want to see an article about the talented team that made this years 18th Film Festival trailer
We expect delivery next week! We are so excited!
Habits of sucessful filmmakers
I have been watching festival submissions and cleaning out my old files this bank holiday Monday and there are 2 things I thought I would like to share with you:
The first is an article titled The 4 Habits of Successful Filmmakers.
The second is a unique problem solver. The ultimate way to shift the buck: I am definately going to hang this one on the office wall tomorrow.
Ho hum. Back to watching submissions for this year's Raindance Film Festival.
The first is an article titled The 4 Habits of Successful Filmmakers.
The second is a unique problem solver. The ultimate way to shift the buck: I am definately going to hang this one on the office wall tomorrow.
Ho hum. Back to watching submissions for this year's Raindance Film Festival.
I'm back from Cannes Film Festival
It was a very good Cannes this year - and excellent for the Raindance Film Festival - thanks mainly to the really hard work by the Raindance team: Rory O'Donnell, Julian Chappelle, Amelie Thille, producer Joe Pearshouse, Chris Presswell and director of programming Suzanne Ballantyne. Quite a team! Or, as one party host said - 'That's a lot of canapes!'
I'm still meeting tons of Cannes newbies who are making the same mistakes year after year.
Here's a list of lessons independent filmmakers can learn from Cannes Film Festival
I'm still meeting tons of Cannes newbies who are making the same mistakes year after year.
Here's a list of lessons independent filmmakers can learn from Cannes Film Festival
Cannes Survival Toolkit 2010
In celebration of the Cannes Film Festival, Raindance has assembled some terrifically useful information.
You might want to have a look at, either to make your trip to Cannes easier, or, to make your thoughts of Cannes more interesting, especially for independent filmmakers.
Brussels Short Film Festival
I have just left the after party of the Brussels Short Film Festival - and quite a party it was with free Chimay and hor's d'oevres!
Should you ever want to come to the Brussels Short Film Festival (and I highly reccommend it) there are 2 hidden secrets about Brussels that you should remember before you alight in this fascinating and dynamic city:
There are 2 thing that are virtually impossible to find: Cash Points, and toilets. Hilariously - at every party or soiree event I would be told on arrival what the toilet facilities. I was even drawn maps and shown arrows point o a variety of convenience points in private property and further. Once that detail was out of the way, parties are pretty much the same as elsewhere.
Why Brussels Short Film Festival?
There are 4 reasons filmmakers should attend film festivals
The World's Top 100 Festivals For Shorts
Enjoy
Elliot Grove
Raindance Film Festival
Should you ever want to come to the Brussels Short Film Festival (and I highly reccommend it) there are 2 hidden secrets about Brussels that you should remember before you alight in this fascinating and dynamic city:
There are 2 thing that are virtually impossible to find: Cash Points, and toilets. Hilariously - at every party or soiree event I would be told on arrival what the toilet facilities. I was even drawn maps and shown arrows point o a variety of convenience points in private property and further. Once that detail was out of the way, parties are pretty much the same as elsewhere.
Why Brussels Short Film Festival?
There are 4 reasons filmmakers should attend film festivals
The World's Top 100 Festivals For Shorts
Enjoy
Elliot Grove
Raindance Film Festival
9 Routes to Breaking in as a Film Director
By Elliot Grove
A must for Film Tweeters
Source: Raindance & Raindance_Fest
A must for Film tweeting fanatics -
FollowFriday is a crowd sourced recommendation engine for Twitter followers. The theory is that you would rather follow someone who has a recommendation, than following random people. Hash tags #FollowFriday were added to make the phrase more searchable on Twitter.com.
Rather than fill your Twitter account full of Fweets with loadsa names, we thought we would describe the people we recommend - hopefully making
the #FollowFriday, or #FF tradition a little saner and easier to follow.
See the list of Twitter accounts from film fanatics, parties, screenwriters, shorts and more.
A must for Film tweeting fanatics -
FollowFriday is a crowd sourced recommendation engine for Twitter followers. The theory is that you would rather follow someone who has a recommendation, than following random people. Hash tags #FollowFriday were added to make the phrase more searchable on Twitter.com.
Rather than fill your Twitter account full of Fweets with loadsa names, we thought we would describe the people we recommend - hopefully making
the #FollowFriday, or #FF tradition a little saner and easier to follow.
See the list of Twitter accounts from film fanatics, parties, screenwriters, shorts and more.
How Hollywood is killing us
Source: Raindance, indie tip
Ever wonder why some people get sick after a 3D feature? Are Hollywood's newest mega-blockbuster killing you slowly? See how the body breaks down these feature length films in the article, Hollywood is Trying to Kill Us.
Ever wonder why some people get sick after a 3D feature? Are Hollywood's newest mega-blockbuster killing you slowly? See how the body breaks down these feature length films in the article, Hollywood is Trying to Kill Us.
8 Mistakes Filmmakers Make That Kills Their Career
We see so many people coming through the door here at Raindance. Especially this time of year when submissions to the Raindance Film Festival flood in. Trouble is, many filmmakers seem to treat their career with a total lack of respect and understanding.
Avoid the 8 Mistakes Filmmakers Make That Kills Their Careers.
Avoid the 8 Mistakes Filmmakers Make That Kills Their Careers.
The Zero Budget Movie
Source: Elliot Grove, Raindance Founder
Learn how to make a movie as a producer on a lo-to-no budget.
This quick piece highlights just some of the areas money can be pinched and still produce a quality film. Raindance Film Festival website is full of tips just like this one.
Learn how to make a movie as a producer on a lo-to-no budget.
This quick piece highlights just some of the areas money can be pinched and still produce a quality film. Raindance Film Festival website is full of tips just like this one.
10 attributes of a Great Producer
Source: John Truby, Raindance Contributing writer
Here are 10 things you must know to be a great producer:
1. When listening to a pitch, focus on the probable structural problems embedded in the story idea. Every idea comes with them. You want to figure out now if they are solvable or not.
2. No matter how good an idea sounds at first, it will inevitably have elements that are predictable and generic. Ask yourself: What are some of the possibilities of this idea? Where can we take this that is more ambitious and hasn’t been done before?
3. Most story ideas, especially “high concept” ones, produce only two or three great scenes. You have to know how to help the writer extend the idea to a feature length script. That requires focusing on the opposition and the central moral problem embedded in the story idea.
4. Most of the time, the second draft is worse than the first. That’s because writers and producers don’t know that rewriting and development are a unique set of skills that must be learned, just like character, plot and dialogue. And the most important of this set of skills is knowing the proper order for development.
5. Good script development is all about fixing the structure and not the surface of the script. Dialogue is the surface. Deal with that only at the very end. Often it will fix itself as you work with the writer on getting the structure right. There are many elements involved in fixing story structure. But the most important is to make sure the main character drives the plot.
5 More attributes of a great producer
Here are 10 things you must know to be a great producer:
1. When listening to a pitch, focus on the probable structural problems embedded in the story idea. Every idea comes with them. You want to figure out now if they are solvable or not.
2. No matter how good an idea sounds at first, it will inevitably have elements that are predictable and generic. Ask yourself: What are some of the possibilities of this idea? Where can we take this that is more ambitious and hasn’t been done before?
3. Most story ideas, especially “high concept” ones, produce only two or three great scenes. You have to know how to help the writer extend the idea to a feature length script. That requires focusing on the opposition and the central moral problem embedded in the story idea.
4. Most of the time, the second draft is worse than the first. That’s because writers and producers don’t know that rewriting and development are a unique set of skills that must be learned, just like character, plot and dialogue. And the most important of this set of skills is knowing the proper order for development.
5. Good script development is all about fixing the structure and not the surface of the script. Dialogue is the surface. Deal with that only at the very end. Often it will fix itself as you work with the writer on getting the structure right. There are many elements involved in fixing story structure. But the most important is to make sure the main character drives the plot.
5 More attributes of a great producer
Pitching your Script
Source: James Burbidge, Raindance Intern
Loglines are tricky things – distilling 120 pages of script into one sentence and imbuing it with the power to summarise, titillate and intrigue is a surprisingly difficult task. As a writer it can be hard to develop a good logline because you are invested equally in each part of your work – identifying the crucial story elements and leaving everything else out feels like you aren’t doing your script justice. But remember, a good logline is crucial to selling your script; in a covering letter, in a pitch, in the 30second window you have with an executive when you accidentally meet on the Great Wall of China. That being the case it is vital that you develop a good logline for your magnum opus, something with sizzle and pop, but also, crucially, something that tells the audience what the script is about.
Firstly – what is a logline?
Loglines are tricky things – distilling 120 pages of script into one sentence and imbuing it with the power to summarise, titillate and intrigue is a surprisingly difficult task. As a writer it can be hard to develop a good logline because you are invested equally in each part of your work – identifying the crucial story elements and leaving everything else out feels like you aren’t doing your script justice. But remember, a good logline is crucial to selling your script; in a covering letter, in a pitch, in the 30second window you have with an executive when you accidentally meet on the Great Wall of China. That being the case it is vital that you develop a good logline for your magnum opus, something with sizzle and pop, but also, crucially, something that tells the audience what the script is about.
Firstly – what is a logline?
Coen Brothers Scripts
Take a few minutes to see if you know from which Coen Brother movie script these quotes and scene descriptions came from. Afterward keep the link bookmarked to the Raindance website's Coen Brothers Suite, highlighting all of Ethan and Joel's scripts.
The answers are linked in the description or quote.
1.
The answers are linked in the description or quote.
1.
Character #1
...Ah, you'll lick this picture business,
believe me. You've got a head on you
shoulders. What is it they say? Where
there's a head, there's a hope?
Character #2
Where there's life there's hope.
...Ah, you'll lick this picture business,
believe me. You've got a head on you
shoulders. What is it they say? Where
there's a head, there's a hope?
Character #2
Where there's life there's hope.
2.
Excited, he counts out a bundle of bills and tosses it onto the back seat.
He starts to take the rag away from his chin but the layer pressed against his face sticks, its loose weave bound to his skin by clotted blood.
He pulls very gently and winces as blood starts to flow again.
He carefully tears the rag in half so that only a bit of it remains adhering to his jaw.
3.
4.
EXT. FACING ROOF
We are looking through the telescopic sight of a high-powered rifle. The rifle sweeps up from BLANK'S body across the brightly lit room, and centers BLANK, still staring at the window, in the cross hairs.
Excited, he counts out a bundle of bills and tosses it onto the back seat.
He starts to take the rag away from his chin but the layer pressed against his face sticks, its loose weave bound to his skin by clotted blood.
He pulls very gently and winces as blood starts to flow again.
He carefully tears the rag in half so that only a bit of it remains adhering to his jaw.
3.
CHARACTER #1
It's all a goddamn fake. Like Lenin
said, look for the person who will benefit.
And you will, uh, you know, you'll,
uh, you know what I'm trying to say--
CHARACTER #2
I am the Walrus.
CHARACTER #3
That Fucking bitch!
CHARACTER #1
Yeah.
CHARACTER #2
I am the Walrus.
CHARACTER #3
Shut the fuck up, Donny! V.I. Lenin!
Vladimir Ilyich Ulyanov!
It's all a goddamn fake. Like Lenin
said, look for the person who will benefit.
And you will, uh, you know, you'll,
uh, you know what I'm trying to say--
CHARACTER #2
I am the Walrus.
CHARACTER #3
That Fucking bitch!
CHARACTER #1
Yeah.
CHARACTER #2
I am the Walrus.
CHARACTER #3
Shut the fuck up, Donny! V.I. Lenin!
Vladimir Ilyich Ulyanov!
4.
EXT. FACING ROOF
We are looking through the telescopic sight of a high-powered rifle. The rifle sweeps up from BLANK'S body across the brightly lit room, and centers BLANK, still staring at the window, in the cross hairs.
Music and Movies
by Sarah Romeo
Nothing sets the mood quite like music. Your film’s soundtrack can make or break the tone of your story, but acquiring the actual songs can be a daunting task. Read on for the ‘need to know’ in buying your movie’s tunes!
What Licences Do I Need?
If you have some tracks in mind for your film, the first step is to contact the music’s publisher—most singers and songwriters have little control over their own music, but their publishers will own almost all the rights. The best way to find out a publisher’s information is to look up the song you want on a site like Amazon, find the record label name, and find the appropriate contact information on the record label’s website.
Once in talks with the publisher, you’ll find out the different licenses you need to acquire. These licenses have different names depending on who you’re dealing with and where you’re making the deal.
Purchasing music rights in the UK or the US, you’ll usually need two licenses:
1) Publishing License - This one is from the publishers, or whoever holds the copyright to a pre-recorded composition. It gives you the right to synchronize a piece of music with your visual image. Some companies also refer to this is as a Synchronization License.
2) Recording License - by the person or persons who OWNS THE RECORDING. In many cases, actually frequently, this is a record label or recording major such as Sony, Warners, Universal, EMI, etc. To approach the Composer would be quite wrong unless the recording was an indy that the Composer had made themselves. However, for most commercially available music, it is a record label or recording company major that you are dealing with.
Some companies also refer to this as a Master Use License.
MUCH MORE TO LEARN FROM ROMEO
Nothing sets the mood quite like music. Your film’s soundtrack can make or break the tone of your story, but acquiring the actual songs can be a daunting task. Read on for the ‘need to know’ in buying your movie’s tunes!
What Licences Do I Need?
If you have some tracks in mind for your film, the first step is to contact the music’s publisher—most singers and songwriters have little control over their own music, but their publishers will own almost all the rights. The best way to find out a publisher’s information is to look up the song you want on a site like Amazon, find the record label name, and find the appropriate contact information on the record label’s website.
Once in talks with the publisher, you’ll find out the different licenses you need to acquire. These licenses have different names depending on who you’re dealing with and where you’re making the deal.
Purchasing music rights in the UK or the US, you’ll usually need two licenses:
1) Publishing License - This one is from the publishers, or whoever holds the copyright to a pre-recorded composition. It gives you the right to synchronize a piece of music with your visual image. Some companies also refer to this is as a Synchronization License.
2) Recording License - by the person or persons who OWNS THE RECORDING. In many cases, actually frequently, this is a record label or recording major such as Sony, Warners, Universal, EMI, etc. To approach the Composer would be quite wrong unless the recording was an indy that the Composer had made themselves. However, for most commercially available music, it is a record label or recording company major that you are dealing with.
Some companies also refer to this as a Master Use License.
MUCH MORE TO LEARN FROM ROMEO
The Fight Scene
Source: Lindsey Curran, Raindance Indie Tip
8 Tips on how to portray convincing fights on the screen.
Tip 3 : Motion
A static fist-fight looks dated and unexciting. Fights are dynamic and violent, and to achieve this feeling you can dictate the movement of the camera by the movement of the actors as they struggle and drag each other around the room. For example, if you start with a medium shot set up alongside the actors around head height, as they struggle one actor should drag or push the other across the room, perhaps into a wall. The camera should move with the actors across the room, without changing the height, pan angle or distance to achieve the strongest feeling of movement.
The actors will not be completely even as they move across the room, and if you follow them as a pair it will diminish the sense of motion that you are trying to achieve. Instead, keep the camera focused on only one actor, to maintain the dynamic feeling of the shot. Once the actors come to a stop against the wall, you can change the height, distance or pan angle, as this will emphasize that the dynamic motion of the shot has ceased.
LA MOTTA V JANIRO
8 Tips on how to portray convincing fights on the screen.
Tip 3 : Motion
A static fist-fight looks dated and unexciting. Fights are dynamic and violent, and to achieve this feeling you can dictate the movement of the camera by the movement of the actors as they struggle and drag each other around the room. For example, if you start with a medium shot set up alongside the actors around head height, as they struggle one actor should drag or push the other across the room, perhaps into a wall. The camera should move with the actors across the room, without changing the height, pan angle or distance to achieve the strongest feeling of movement.
The actors will not be completely even as they move across the room, and if you follow them as a pair it will diminish the sense of motion that you are trying to achieve. Instead, keep the camera focused on only one actor, to maintain the dynamic feeling of the shot. Once the actors come to a stop against the wall, you can change the height, distance or pan angle, as this will emphasize that the dynamic motion of the shot has ceased.
LA MOTTA V JANIRO
Hollywood's Creative World Endings
Source: The Daily Beast
Hollywood has always been obsessed with the apocaplyse. Here is a top 10 take on the best Hollywood world disasters.
They are missing a few good classics though:
Invasion of the Body Snatchers (1956)
War of the Worlds (1953)
The Blob (1958)
Hollywood has always been obsessed with the apocaplyse. Here is a top 10 take on the best Hollywood world disasters.
They are missing a few good classics though:
Invasion of the Body Snatchers (1956)
War of the Worlds (1953)
The Blob (1958)
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