S: Dark Conception Films' Filmmaking Guide
BC: Dark Conception Films "Everything has its darkness"
FC: Filmmaking: A Step by Step guide! | Written by Blake Barker
1: Introduction Filmmaking is one of the most entertaining industries today. People all over the world watch movies whether it's at home or in theaters. Couples go to movies on their first date. Friends go to movies to entertain themselves, and so on. But have you ever really thought of what's behind these films? How they are made and what it takes to make one? This guide will take you through the world of filmmaking. When you're finished reading this guide, you will have learned both what film school teaches, and what they don't teach you. You might even like making films yourself! (If you don't already!) CAUTION: Turning this page and reading might cause you to learn. Turn the page ONLY if you dare to enter the world of a filmmaker and maybe even become one.
2: Extreme wide shot: (EWS) shows a wide, large view of the surroundings around the character and coveys scale, distance, and geographic location. Wide shot (WS) shows the entire character from head to toe. Medium wide shot (MWS) shows a character usually cut off across the legs above or below the knees. It is wide enough to show the physical setting in which the action is taking place, yet it is close enough to shot facial expression. Medium shot (MS) shows a character's upper-body, arms, and head. Close-up shot (CU) shows a character's face and shoulders. It is close enough to show subtle facial expressions clearly. Extreme close-up shot (ECU) shows only a part of a character's face. It fills the screen with the details of a subject.
4: Standard Coverage can be used in most basic films. Standard coverage shots include all the shots listed below: Mid Shot Capturing facial expressions Full shot Track (walk with character/actor) Close up on expressions or objects that are important All basic shots that cover most angles of an object or person, in standard coverage, no shot is complex.
5: Never Cross the line! The 180 rule is a basic guideline in film making that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle.
6: In order to capture good images there first needs to be light in the scene to illuminate (lighten) your subject. Without light you have no picture. While light is used to illuminate the scene, it is shadow that creates depth and the illusion that what the viewer is looking at has dimension. But what is the best way to illuminate a subject to get the proper amount of shadow? If you are doing an interview, you can follow the three point lighting setup. [an error occurred while processing this directive] it all begins with the key light. It is called the key light because it is the primary source of illumination in the scene. All other lights (fill, back, rim, etc.) are adjusted based on the intensity and position of the key light. The placement of the key light will create the much-needed shadows
7: Generally, the key light is placed at 30 degrees to the left or right of the camera and at a 30-degree angle to the subject you are filming. Actually, you can place your key light anywhere you see fit in order to get the look and feel you desire. If you increase the horizontal angle (relative to the subject), it will emphasize skin features and produce an aging effect. As the vertical angle is increased, shadows begin to appear under the nose, chin, and lips. This causes your subject to look as though they are being interrogated. Unfortunately with today's offices, if you shoot under fluorescent lighting, you could end up with this undesired look.
8: You don't need a fancy degree or a studio to be a filmmaker. You don't need a high definition camera to become one. You need any type of camera, a story to tell and actors that will fit the role and make your film believable. That's what a filmmaker is. A person who visually tells the story with his cast that do a good job of pretending. That's what acting is - pretending.
9: Pick up a camera now, and go shoot anything. A guy across the street, your plants, a dog, children swinging on slides, etc. After you've done that you can edit and make it into a good story. Now, you love filmmaking right? Which is probably why you are reading this. You have strong passion for film. Go get a camera, some actors, and discuss a some interesting topics or moments in your life, or your favorite story. You can even make one up! Now, go and shoot it. The next step is editing it. Next? There you have it - a film that you're ready to show the world even if it may have some flaws. The number one thing to remember is never be embarrassed. That's the worst thing you can do. Always be confident in your work. Think that your viewers will think like you and love your films as much as you do. If they don't, this only means one thing - practice and keep on shooting more, you'll get better, and so will your film reviews. All you need, is to have passion, will power, dedication and you'll be the next biggest thing!
10: You might have been told that in filmmaking talent is the most important thing - not true. Why? If you don't have the skills to make a film professionally your talent is useless. It's as simple as that. However, don't get me wrong. Talent is still very important - just not the most important.
11: The next section of this book goes into film as a business, it doesn't teach you the 'basics'. So turn the page and you'll find two note pages you can write on for section one. Then you enter the world of filmmaking even deeper!
12: Your Notes Here
13: Your Notes Here
14: When filming at a location that is public, such as a park or specific area around your house/apartment, some of you may be the type to say around anyone who is in the area "Can we shoot here?" which isn't the best filmmaking skill. You have to be the tough guy director type. "Crew set up, and let's start rolling! Anyone has a problem, come speak with me, my crew and I are shooting a film now!" or "Crew, you're late! We have to set up and roll now! Camera guy, set up. Come over so I can tell you the shots." You must never be shy. Always be tough, never embarrassed no matter what, and don't be afraid to take risks. There's always going to be risks in filmmaking. Be a bully-type director, but when the time is right - you must not be the tough guy with the wrong people.
15: Most of you think that film isn't a steady job, so you have to find another job as well to support yourself, something other than film. You're wrong. Film has many departments in which you can have a job in such as the following: Grip Location Manager Scriptwriter Camera operator Gaffer Director Producer Money Handling Business/Law end Actor/Actress Find a studio, get at least two or three positions. Almost all the jobs listen pay pretty well.
16: I'm sure that your parents have dragged you to films that you didn't like when you were a child. Now you look back and some of you might say "That film was stupid, I can't learn from that!" - wrong! In every film there is either something you can learn, or something you can learn not to do. For example. If the story was horrible, but the shots were good, you can learn that story is the most important aspect when you make a film. Then you can see what shots the film used, practice them and use them for a film in which you have a better more interesting story to show the viewers. | Most people who go to film school dream of becoming a big part in the film business. Some of you want to be director, but that won't happen for the first few years when you graduate film school. Half the films you make then won't even be good enough to go to Hollywood, let alone be seen on IFC. Now I'm not saying they will never get there, but it takes years of practice and years of hard work that a lot of the time won't get paid off, truthfully. When you start film school, your films will be worth nothing. HOWEVER - graduate film school, dedicate your heart and hard work to film, and years down the line you'll be the biggest director or the biggest of whatever position you're shooting for.
17: In almost every case, when you write a script you don't think of the characters in a place you own. You make a location up. But most of the time you never think about this question. "Does this scene work for me? Do I have such a good convenient location to shoot, will it look the same as I envisioned?" Most of the time, as you're in film school learning the question may not pop up in your mind which either can cause minor difficulties, no difficulties or great difficulty. Remember: Know what you have before you offer. If you have a scene in a room with a nice bed, and no walls on either side of the bed touching, do YOU have that or would you be able to get it? Unless you know you have the right set up, as you're writing the script think of a setup that you know you either have or are able to build.
18: The quickest way of improving a film is to trim off the ‘dead’ on the front and end of a shot. You don’t want one character to say ‘Look out!’ then have to wait several seconds for the other character to turn around and say ‘What?’, so pacing is essential. But pacing varies depending on the scene – to create high-speed frenzy (ie a car chase), short, quick cuts work well, but if sadness or peace is the emotion you’re after, allow time for the audience to feel the mood by using slower cutting.
19: Most programmers/distributors will be inundated with submissions and so your film has to grab their attention from the very first shot. The harsh reality is that if your film doesn't pique their interest within the first two minutes, in all likelihood they may not sit through it 'till the end. Don't waste time on lengthy introductions and credits – spark their interest in the story as quickly as you can. Credits at the start can distract the viewer (especially if the direction, production and editing are all by the same person!) so leave them out unless you have it written in an agreement with one of your cast. Similarly if your film starts with a long establishing shot where nothing really happens, viewers may switch off before you get to show them your great plot and idea. If the pace of your film is naturally slow and ambling, make the shots as rich and enticing as possible to draw the viewer in. Note – a good editor can really transform a film. If you're directing and editing your own film you might be too attached to certain shots to know which bits to chop out to make your film a stronger, more coherent piece. In big blockbusters, scenes that have cost thousands or even millions can be chopped if the studio/filmmaker feels that they are not integral to the final edit of the piece. Lastly, story. With a bad story, you can only go so far. A script is what makes the story better/worse. As long as you have a good story, and a decent camera, and a crew that helps you, you're good to go.
20: Know what you can give before you offer. Know what you want before you ask. Surround yourself with people who inspire you. Jealousy happens. Watch for it, then completely ignore it. If they don’t believe in you, they might not believe in anyone. If you have to talk anyone into joining a film, don’t. Giving a straight rejection is a kosher way. If you’re not good at pretending, get a producer who is. | Tips & Strategies
21: Most of you think the process of opening up a company is hard. Not at all. Well, it actually depends on in what way you want to do so. All you need is to build a website, pick a company name, get a crew of 3 people or more, write some stories and shoot them for your company. If you're not a web builder, find someone who is or contact one online. What more is there to say? Make films with your crew, keep practicing and you'll be the next big thing! All it takes to run a company is being tough, on top of things, dedication and will power. Building revenue is hard, so building a Facebook fan page for your company will help, as well as other social network pages like Linkedin or Twitter as well as YouTube of course.
22: When you are casting your cast, you want to check for the few main things. The facial features of the person you are casting, and their ability to show well emotion that it's believable for the role you're casting them for You must even focus on their tone of voice. If you're casting a killer and he has a high pitched voice, that doesn't work (unless your script specifically states otherwise) Even the small things make a difference, so make sure to take accounts of everything. Body shape, voice, look, eye color, the way they walk, etc.
23: When you are filming a scene of a murder, and it is night, you usually have a light that makes it look like it's night time. But what you might not know is that it doesn't always have to be black and white. Say you're shooting a murder scene and you want it to seem very cold and dark. You can put an actual blue dim light to make it have the 'ice cold' violent feeling, or make the whole scene in red lighting to make it seem dark and violent as well.
24: First off, let's start off by saying if you write a script and finish it, and then want to change things because you don't like it, don't. Original is always the best. Now let's get to something else. You're writing a script. "Hey what's up sir? I need a favor." then you cut to the other person and he or she's talking to and after three seconds he/she replies "What's the favor?" that's not good. There should not be a pause to hear the character's reply. Once you cut to the other person, automatically cut to the moment where he replies or is about to reply. Don't wait until he finishes walking to the end of the block or some other action. Just cut to the point and the dialogue.
25: The following are sources that will give you all the information to launch your career. Production directories Film commissioners Film books Film co-ops and programs Production vendors Film magazines and trades Software programs Paperwork and forms Industry organization
26: How long does a good film take for you to shoot? A short film should take about 6-8 hours, maybe a bit more depending on the crew and cast. A 50 minute film or longer should be a few weeks. Keep in mind you might not shoot each and every day, and depending on the scenery it could take longer. How does this affect you? Depends what you are looking for. If you know how to work around most types of weather, then you're fine. If you do not have the ability to do so, the film can sometimes either take longer or be delayed until the next shoot. Your script? It depends on the type of company you own or are in. For company's who are on YouTube and online celebrities, it's easier to get audience and feedback worldwide, whereas if you're celebrities at a specific place, only a certain type of script will do, and that's a great script.
27: Effects are very tricky, so you need to be careful. Ask yourself if you need the multi-colored, pixellated, flashing dissolve and if the answer’s ‘yes’, then by all means leave it in. But be aware that effects can often be distracting, and having too many can look as if you’ve trawled through the effects bar on your computer and used every single one because it was there. Effects are useful in their place, and can really help jazz up a boring title sequence. Try not to put too many though, and don't make a big mess. Though you'll probably notice when it doesn't fit the scene.
28: I'm sure most of you if not more than once have thought "If my script doesn't get into Hollywood my script is no good." This is incorrect! Hollywood is for rich people. It's the richest studio. You have to have lots and lots of connections. Let me tell you a secret. Go to a film studio (a small, general one that's not Hollywood!) and ask them to sell your script. They will either buy your script or send you home. Hollywood doesn't 'buy' scripts - they option them. What does it mean to option one? Certainly someone in Hollywood wants to have your script filmed. Sounds great right? Wrong! Hollywood options the script to anyone who says a simple word. "Here's the money - give me the script." This doesn't mean your film will get made for sure.The director might not have all the resources he needs for your film. He first needs to try to raise money for your film. So what happens if he doesn't get it filmed and produced? You've just lost a script you could have gone to a small studio for, gotten less money but surely get it filmed by one of the many small studios.
29: You don't write scripts just to leave them in your room and read them on your own time (At least I hope not!) You want your name to get out there - either to get a studio to film it for you, or maybe you had the idea of filming it yourself with your own crew. That's why optioning is risky. You lost your script. Sure, maybe you have another copy of the script at home but you signed it off when you gave it away to be optioned. You can not get this script filmed unless you know for sure it hasn't been sold to a smaller studio or different Hollywood director. This is why you need a lawyer. Get one. Protect yourself and your script and always remember - it's fine to turn down any studio's offer. Even Hollywood's. It might be harder to raise the money on your own and might take a bit longer, but it's not impossible. There are many contests in which you can submit you script and make money for it.
30: Now - you want to sell your script right? So let's say a guy named Duke goes over to a studio and offers to sell because he wants this script to be filmed. Once someone has read your script they say "It's really good but it needs work. We unfortunately can't film it. But good work!" smiling as you walk away. This is a simply lie. Don't be fooled! If they thought it was so great why didn't they option it? Or hire an editor to fix the parts that weren't 'great' to them? | The script is the single most important part in filmmaking. Without a good story, there is no film. A director could spend over $1,000,000 on his shoot but at the end of the day, if all there is, is a murder killing three people and no story behind it whatsoever, it's not a good film and the director just lost money. It's not that he was a bad director, but he was either not a good story teller or didn't hire someone who was.
31: A production designer is one of the most important things to have in the filmmaking industry (after the script of course). The set needs to be dressed well, and so do the actors/actresses. Let's say you're shooting a romantic movie in a high class restaurant. You want a production manager to set up elegant tables, an elegant dress for the lady, and a classy suit for the man. The restaurant should be playing soft romantic music, not rap or rock songs, (but that's the editing department, we'll discuss this later.) You will never see a romantic movie with a classy guy wearing a t-shirt and jeans to a high class 5 star restaurant. It just doesn't fit.
32: Editing your film is the next most important thing in filmmaking. Though I've talked a little bit about editing in previous pages, I'm going to talk about editing in depth here. First off, let me tell you something film schools never mention. Editing shouldn't be done on a laptop. Why? It's a portable device. No actual good/expensive program will work as good as it would on a PC. It's not like you CAN'T, edit on a laptop, it's just not suggested. Next, editors. The best one for Windows users is Sony Vegas. On a Mac, there are several good ones, and several great ones. The basic and decent editor is iMovie or iMovie HD. This mainly depends on what type of editing you need done. If you need a bunch of special effects done, obviously iMovie HD (basic and decent) is not the one for you. For this you would need Final Cut or Final Cut Pro.
33: If you're the type of person who doesn't need all those special effects you can use iMovie HD. Most basic (and decent) editors are good for films that just need cutting and sound effects and basic video effects. Windows Movie Maker is alright for basic editing as I just said, however to use cool effects you would need to purchase a $40 package although there are more expensive packages full of effects and tools. All the editors mentioned in this section are iMovie HD (Basic, General editing) Windows Movie Maker (Basic, General editing) Final Cut Pro (Mac's professional editing software) Sony Vegas (Professional editing software for PC and Mac - though you'd normally just use it for PC)
34: Your test: Script Writing Grab as script you have written already or one that you're working on. Open to a section where a male and female are in a conversation together. Cover the names of both of these characters and read the dialogues of both characters. Does the male speak like a male, and does the female speak like a female? If not, you've just gotten a low score. You want to gender to speak like itself. You don't want a tough bully to say "Oh my god, that boy's such a loser! I'm so much more good looking! Uh! Like, get out of my face!" This sounds like one of those snobby teenage girls. Try something more like "Hey punk! Stop being such a loser! You know you have an ugly face you ugly person! Now walk away before I make your life lonelier than it already is!" Something around that.
35: Assignment. Below write a short one page script about anything you want. The only rule is you must have different genders speaking at one point. Otherwise, this is like a fun activity for you. You will receive 100% score if you can tell the genders apart after covering their names. Title: _______________________________________ Written by: ____________________________________ Start writing the script below...
36: Continue your script...
37: Crediting your film seems like the simplest thing to do, right? Wrong! There are so many ways to go wrong. Firstly you should know to credit people ONLY if you have agreed with each other that they should be credited. In every movie there is always an unlisted cast. Why? Let's say you're in a bar. You see a boy in the background but that's not at all in focus. Why credit him unless they actually focused on him? Unless you agree in the first place to list him in the cast, don't. You can cast him, but not in the film credits.
38: Here's a question for you. Some people think court room dramas are boring and Hollywood doesn't like them. It's not like Hollywood is the only one that doesn't like them. Wrong! Court room dramas are easy cheap-to-shoot scenes. They tell a lot of stories in one room. Maybe you can have tiny reenactments of what the situation is you are on trial for. It may not be the most fun thing to watch, but neither is no explanation as to why a character does what he does. Maybe a woman was murdered. Sit in the courtroom and discuss it with small flashbacks of the murder. Now take out the courtroom scene. There isn't much explanation, is there? At least not one that could be as detailed as if we were in a courtroom.
39: What you must know before continuing to read. This guide is based on the fact that filmmaking is not an art form - it's a business. Soul-searching is a long process that can take many years. You start liking one thing, then consider that it is not good a career and move to another thing eventually going through at least 50 things until you've finally chosen your career or hobby. Most of the time, your hobby can't be your career. This is one of the cases. A lot of the time you don't get to choose what script to film - in a sense. You're optioned scripts. You can choose from those, but often your own scripts wouldn't be beneficial for a company and will often do no good. Sometimes it's not even brought up because filmmaking just doesn't work that way. You have to go through lots of trouble and by the time you've gone through script agents most of your script is edited. Now it's not so much what you wanted to film in the first place.
40: Why can't filmmaking be considered an art form? MONEY. A lot of money is wasted (wasted in the sense that a lot is spent.) I assure that you wouldn't choose a hobby over a job and get kicked out of your house or apartment because you can't afford to pay rent. Filmmaking is risky. Taking a risk by making film your default career and hobby is like playing with fire. You're putting your life on the line. You waste so much money, that honestly unless you have another job it's not worth it. Unless of course you're working in Hollywood and are Steven Spielberg. Now I'm not saying you can't be a great Hollywood directors, but these days it's very rare that unless you're wealthy and have a lot of connections you'll work in Hollywood....
41: ... Now you might still be a director, just not in Hollywood. In a smaller studio in which case you'll need a second job to support yourself. All this struggle doesn't seem like a hobby to me. Painting on your own time and selling it not having to rely on millions of people is a hobby. Filmmaking? Not so much. You can make home videos/short film, but don't call yourself a director unless you're opening up a company and trying leaving that as both a hobby and career having another job to support yourself. So unless you have a wealthy family and are wealthy yourself, it's not a hobby. If you're really wealthy, in Hollywood and successful in film... call it as you desire.
42: Your Notes Here
43: Your Notes Here
44: Protect yourself! When you make a film, or a website for your company protect yourself. Keep in mind that your website is universal. Your film is universal (if you put them on your site.) Trademark your company name! If you had a company name such as Screen Gems and just made films, nothing really legal, someone can easily make Screen Gems their company name and use it to get more attention to their films and consider themselves the real 'Screen Gems.' If you trademark yourself, anyone who does this will be caught and get into legal trouble. Film titles can't really be protected. Anyone can make a movie named HALLOWEEN - this doesn't mean you're copying John Carpenter or Rob Zombie. It depends what the story's about. If you are remaking HALLOWEEN, then either contact the director of the movie and ask if you can do so, or credit the people. (If you're in a professional studio, small/independent or not, do not just credit them! Only credit them only if you and a bunch of friends have opened up a company at teenage years. This way the director or original creator knows you mean no harm and are just passionate about film. This won't work if you're an adult. Adults face adult consequences. If you were to copy one of my movies as a teen and credited me, I wouldn't really have a problem. If you were an adult, I'd think you were trying to steal my ideas. Unless of course you contacted me first!
45: Let's get real and realize that you can't have a film job and support yourself only with film. If you go to film school and are really successful and go to Hollywood, that's great! However this doesn't happen very often. Let's say you do get a film job in a small studio - good right? They won't pay so well that you won't need another job. I'm not saying have a full time job as well as film, because that wouldn't work. Film is not a job you can get for three hours a day. You could do many different things. You can become a waiter/waitress. Get a job as a computer technician if you're into technology. Fix a computer? That's about $500 right there just from fixing one computer. Imagine getting four calls a day or every two days?! That would support you. There are other jobs such as screenwriters, or writers. Screenwriting? A couple hundred a paragraph. Of course this is a good pay. The pay depends on what agent you call to look over your script and who buys it. Then he or she will tell you what your script is worth and you'll take it from there. I'd list more jobs but there are so many. You can work at a store that pays about $10 or more an hour. There are many jobs out there. The trick is not to get hired. The trick is finding one and making them WANT to hire you.
46: Let's talk management. Every company needs a manager. Manager(s), preferred. Let's say you have a script someone sold you. Before you agree to anything, have your company manager look the script over and see if it would be good for your independent company. If the manager says he or she doesn't think it will do any good for the company then don't buy it. If you want to be nice, option it. It won't matter if you option or not, but just to show your support. You never know. If you show your support, the person will show support back with your company.
47: What you need to know before continuing to read! BREAKDOWN - ONE SHEET WITH REALLY IMPORTANT INFO Shot types Know what you have before you offer You must be good at pretending - or get a producer who is Don't be a shy director. Be a tough director, and never be embarrassed Editing your film is tricky, and too much effects can make a film look unprofessional and cheesy. The script is the single most important part of the film. Make sure you have a story to tell that will attract viewers. Don't let studios fool you - if they like your script they will buy it - errors or not. They will fix them or request you to do so before they buy it. Advertising is also very important. Make sure to protect yourself by copyrighting and trademarking. Make sure your crew has the time to stay late! Film doesn't run on schedule. There will always be days if not every day that something goes wrong and you have to stay either a long time or just a little while to re-hoot a scene or to wrap at a later time If you have to ask someone more than once to be in your film, don't. If they really wanted to be a part of your film, they you wouldn't need to ask them twice. If you are using a song or story that is owned by someone else, make sure to get permission to use it! This list can go on forever. You have this book and this list. I hope it taught you something and that you enjoyed it.
48: In filmmaking, less is more. Let me explain what I mean. Some of you may have opened up a small company with your friends or people you met so you can make films. I'm sure you've at least once thought "We make very little films, it's embarrassing." Wrong! Let's say you make one film a month, right? And put in extreme dedication and work. That's better than making four films and not putting as great work into them. Who knows, the story can be good, but as viewers will say they'd rather less films and good quality ones when they are released, then a bunch of little crap. (Excuse my writing). Now I'm not saying multiple films are crap. It's human nature. We as teens, grow into adults. We are so focused on the story, on viewers opinions that we may not notice how little effort we put in compared to if we made one film a month. We have a lot on our minds.
49: TEST What is the 180 degree rule? ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ What makes a good film (the most important aspect of film is...)? __________________________________________________________________________________________________________________
50: TEST [CONT'D] What does Hollywood do with scripts? A) Buy them B) Option them C) Film them What's most important thing to remember about editing (there was basically only one-two pages full of important info - what's the most important?) ________________________________________________________________________________________________________________________________________________________________
51: Let's see if you took notes! What are the most important things to remember about film(business wise)? Write down what the most important things are about film in general and in your opinion ________________________________________________________________________________________________________________________________________________________________________________________________________ Test answers 180 degree rule = in book - you can look back The most important aspect of film.... the story Hollywood... options scripts Last two questions? 3 pages back counting this page!
52: DIRECTOR'S PAGE This is a page just for you! Name: A script you've written that you are proud of: Short summary: [profile questions continue on next page]
53: What camera do you use for film: What editing software do you use?: What do you want to do in the future (if you're an adult, what do you do and do you like it? What did you find most difficult about the shoot?
54: What have you improved on and what will you work on for next time? ______________________________________________ | Hope you enjoyed the little activity. Now it's time for more film talk!
55: It's a rainy day, what do I film? | As I teenager I'm sure you run out of ideas to film about, especially on vacation days and or weekends when you're unable to make a well-plotted film. You're about to be given a simple answer. Ready? Make a vlog! Make a comedy vlog, a horror vlog, a personal vlog. I myself have done this, and have seen other people do this. Be confident, be funny, talk to the audience, or be creepy and tell a story. Audiences will like this. Maybe not everyone, but not everyone will like everything you do, but that's life. You start out as a loser only to become a winner. We educate ourselves to get where we want to be in life. I own a horror film company, and my inspiration for making random comedy vlogs on 'rainy days' is a YouTube partner/comedian named KrvJumba. This not only showed me how to be funny at times, but to just be confident and not embarrassed in anything I make.
56: Filmmaking is like therapy. If you don't have the will power and heart for it, you will never truly get better. This doesn't go for every career choice, but it does go for a lot of career choices. The big one is film - why? You get the most criticism. People will judge you and your films. In the beginning, probably in a bad way - the key? Listen, know who's right and wrong, keep on practicing, and never give up. Steven Spielberg directed his first film when he was only 16. Do you really think he knew everything he was doing? He was a film student like you and I at age 16, he wasn't an evil genius. He got $400 but lost a lot more. What did he do? He didn't give up, and now he's one of the biggest director's in Hollywood today. The truth? Most of us don't know what we're doing - even in college. But that's just as normal as not knowing what the meaning of life is. We simply can't know everything, and can't be perfect at everything. What we can do is practice and educate ourselves. Down the line, we'll grow and become winners. True winners.