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But you should also consider the other resources available to you. It takes a lot of money to make a movie, so raise as much as you can. And that means ditching your ego and really listening to people’s opinions about what should happen,” Stoler says. “The best projects are ones in which the director guides the vision but doesn’t dictate it. “If people feel respected, if they’re given an opportunity to grow and stretch themselves - do something a little out of their range - then they are much more likely to give you much more and try much harder.” “I really want to know what they are interested in doing,” Stoler says. (Personal connections to film festivals or distributors don’t hurt either.) “Production is a long, collaborative process, and someone who isn’t game can be a real anchor on the whole thing,” says Stoler.īe clear about what you expect, but also find out what your crew members want to get out of the film.
HOW TO INSERT AN IMAGE IN MOVIE MAGIC SCREENWRITER FULL
If it’s full of nothing but action sequences that involve flying, but you don’t have the resources to make that happen, it’s a doomed situation,” says Emetaz.įrom the cinematographer to the costume and set designers, everyone should share the director’s vision and be willing to invest themselves in the work. “If you have a $200 million idea, but you try to make it for $50,000, it rarely works unless it’s a satire. You can revise the script and scale your ideas down to the movie you have the budget to make. If they’re someone you trust and work well with, they will be a huge help.”ĭon’t lose heart if the first cost estimates are eye-poppingly high. “Someone who grooves on doing spreadsheets, making phone calls, putting things together. “Find somebody who loves pre-production,” says director and teacher David Andrew Stoler. How much will it cost to properly shoot the film you’ve written? Your first hire may be a line producer, production manager, or assistant director with the knowledge and experience to estimate what you’ll need in terms of personnel, sets, costumes, and equipment. While you refine the screenplay, begin to think about how you can turn that blueprint into a film. On bigger projects, a studio may have an idea for a movie, and they need to hire all the people to make that happen,” says Emetaz. “In smaller independent projects, that process is mostly about trying to just raise money.
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The development phase varies depending on the scale of the movie. Use storyboarding to test out the action, camera angles, and ideas for camera movement. Show the script to people whose opinions you trust, and revise it based on their feedback. You’ll have to prove to them that there is an audience for this project,” says director Greg Emetaz. “Think about going down the road of distribution and selling the film to people. What do they want to see? Will your storyline draw them in and will they stick with your characters? Once you have an idea, write the script or hire a screenwriter. The first version of any film isn’t a movie at all but a screenplay.
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Much of the work of moviemaking happens long before anyone picks up a camera or camcorder to begin principal photography. An understanding of the entire process can help ensure you make the most of your time and money to set yourself up for creative success. Whether you want to make a low-budget short film or Hollywood feature, you can break down the process of making your own movie into three major phases: pre-production, production, and post-production.