So you wanna be a film maker eh? Sure, we all do, presumably. Isn't that why were here? We all have our stories of that moment when we knew creating moving art was for us. Watching that film on the big screen as a kid., or renting that movie, and being blown away, forever enchanted by the magic that is film making. Fine, you want to make them, you feel you have talent but, what do you do until Hollywood comes a knocking? How about perfect your craft? Several of these tips, to some, might seem like common sense, but they are all things, I find, people have a tendency to look past, while trying to grasp at the future. This three part series will hopefully help you focus on how to better prepare yourself for a possible career in film making, as well as improve your chances of that becoming a reality.

    No Money: How your lack of funds can be an advantage.

    As amateur film makers, we encounter multiple limitations, the greatest of which is certainly money. I know that at least one article is in the works, tackling the issue of how to raise money for your films. Definitely check it out, as it could prove invaluable. I will, however, talk about the more common scenario, which is, lack of funding. Hey, we don't call this low budget film making for nothing. The thing is this. For years, thanks to film makers like Roger Corman, of whom people used to say, He can take $50,000 and make it look like $25,000, low budget meant low quality. And I don't just mean visually either. B-movies equaled bad acting, terrible dialogue, and sub par storylines. That isn't necessarily true anymore. Given the success of film makers like Robert Rodriguez with his film, El Mariachi, and the recent Indie smash My Big Fat Greek Wedding ( shot on a budget of 5mill, the film has brought in over 130mill so far. Although anyone of us would kill for 5mill, you get the point.) Low budget now often means cutting edge. So how do we make sure we are a part of the second group? What you must do first, is learn how to get around your limitations, and in fact, turn them to your advantage.

    If Hollywood has a problem, they throw money at it. Look at Waterworld.  Not a horrible film, but money was certainly an issue. The films budget ended up being insane, and why? Because they felt cash was the answer to their problems. I honestly couldn't care less if Hollywood wastes their money, but it translates to young film makers this idea that without cash, you cannot make a good film. Simply not true, in fact, I've found it to be the exact opposite. If you don't have money to throw at your problems, then what do you throw? Creativity. Most problems can be solved with a little imagination.

    The first step to doing this is long before pre production, when you are first hatching that movie concept in your head. Money might control your shooting format, but it really shouldn't control anything else, least of which, your writing. This, in my opinion, is the greatest creative outlet in the film making process. A great director is only as good as the story he, or she, is telling. So, be excellent when you are spinning your yarns. In doing so, I offer one tip, that might make the odds of your work making it to the small screen that much better. They tell writers to write what you know, Low budget film makers might be well served to make an addition to that, write what you have. I don't think there is a person here that wouldn't enjoy blowing up a building, but it isn't practical. Got a nice car, write it in. Got an old ugly car, heck, give it its own short. Look around your house, or apartment. Does it have a certain look? Can it look like something else with some set dressing? Have access to an old creepy tool shed, or a large wooded area. Stories are all around you, just waiting to be found. It has been my experience, that by looking at what I have, I tend to write more creative pieces. All of these things come into play. The more you have at your disposal, the more likely you are to accomplish your goal. On occasion, however, a story demands something you don't have. In these situations, you have two choices. Drop the story all together, until these things become available, or, find a creative way to fake what you don't posses.

    Example: When I began pre production on my latest short film, Intersection I had a pivotal scene written to take place in a Hospital. So, I called up some local Hospitals, played the poor film student card and asked for a room. I even went as far as to fax a copy of the scene in question, production schedule, list of people who would be on set, my schools insurance info, ect. They all said, No problem. Cool! Then, I waited. I went on with the rest of my pre production, and began production, staying in constant contact with my hospital connections. The result?  Three weeks before my films completion deadline, the last Hospital said, Sorry, I guess it isn't gonna happen. The problem, apparently, is that no one I was talking to could get one of the Hospital big wigs to look at the proposal long enough to sign off on it, and give us the go ahead. Why? Because we weren't giving them any money. The poor film maker angle does work, but not always. So, I had to do something, and fast. Money would fix it. Money wasn't an option. I could have put the production on hold, but if I had, It would have been the same as quitting. Why? Because I hadn't used my imagination, that's why. I wouldn't have been creative. I ended up checking into my schools nursing program. They had a hospital bed, gown, Doctors jacket, even an EKG machine. Of course, this was all in a classroom that held 45 students. Once again, time to be creative. Used a corner of the room, kept the camera angles conservative, looks great. Everyone asks me, How did you get the hospital room? The best part is, if that hadn't worked, I would have used someone's bedroom. I would have done whatever it took to get my shots. The point is, I wouldn't accept, Sorry, guess its not gonna happen. as an answer. The options are there, use them, be creative. DO NOT let an obstacle such as this, halt your production. If you don't finish it, then its impossible for someone to see it, be impressed, and fund your next project. Even if that doesn't happen, you cant make a film, and NOT learn from it. You win either way.

   Finally, surround yourself with creative people. At this level, it is often hard to find a decent actor, who will work for free. We all understand this, and it is my experience, we cut each other a little slack in that area, but, if you happen upon a truly talented actor, hold on to them like grim death. The same is true of a good D.P., or camera operator. The more creative the people around you are, the more likely you are to be creative. That's one of the great things about Rewind. You have the opportunity to interact with other creative people, and feed off each other.

   There are so many places were creativity can make a better film than money ever could. I encourage you to go out, and find them on your own. Hit the dollar store for props and set dressing. Drive around were you live, looking for potential locations. Use your obvious advantages, such as youth. (Younger people can get away with a lot more. People are less likely to call the police when its a bunch of kids running around with cameras, and even when they do, its a lot easier to play the, I didn't know any better. Game) But at the same time, work hard at this hobby. Be professional. Embrace your limitations, and excel past them. People who work in the industry, the very same people who would give you that big shot, know what a film maker, who knows what he is doing, looks like. If the movie was shot the right way on DV, then it would have been shot the right way on 35mm. If it was shot poorly, the same applies. Its as simple as that. You have a camera, you can capture images, and you can assemble them to tell a story, you are a film maker. Take this business seriously, and one day, this business just might take you seriously in return. You are only as good, as you allow yourself to be.

Next:

          Technical Knowledge: How important is it to know the technical aspects of film making?

    R. Michael McWhorter is an award winning film maker. His last short, The Elevator won in the College competition of the 2002 Palm Beach International Film Festival, and was an official selection at the 2002 New York Film and Video Festival. His latest film, Intersection has a December release date, and has already received rave reviews from screened audiences.