Movies with poor reviews do not necessarily give anyone the excuse to pirate them. Art is subjective and stealing is wrong. These are two truths that should be recalled when dealing with piracy. It is not wrong to share content as long as it doesn’t cross any copyright. Copyrighted materials are certified and protected, and owners have grounds for copyright infringement claim if necessary.

Film Festivals

The world constantly asks for innovation; that’s almost a rule. In film festivals, exploration and development meet. Storytellers who take risks with fresh ideas get to display their original work. It is where indie or independent artists show off their stories without political and commercial pressures, and restrictions.

Film festivals connect artists and audiences in several countries. It is a place where both established and emerging artists show documentary and dramatic films, innovative short films, cutting-edge media and art installations, and live music performances. It brings together the modern day’s most original storytellers and supports engaging programs for students and the community.

Every film festival welcomes distinguished artists and opens great opportunities for students and newcomers. Some movies are even directed by celebrities. For example, “The Company You Keep” was directed and starred by an American actor. This political thriller was well-crafted, and the creator skilfully directed a cast of talented actors. When this TCYK LLC film was pirated, copyright holders tracked the infringers to protect their rights.

Media Copyright Literacy

While you play other people’s intellectual property, it is essential to have a basic understanding of what is legal and ethical. Everyone should learn how to be a good digital citizen and get familiar with the copyright law and respect content creators and their original work.

Upon creation, any work is automatically copyright-protected. When your work is capable of copyright protection, it is likely that you own the copyright. However, copyright might belong to someone else if you have assigned or transferred your copyright in writing. Also, ideas cannot be protected unless it is made into its material expression like a painting, novel, or film. So it is important to transform your ideas in its material form.

Copyright protection applies to all formats whether it’s in print, online, or digital media. While there are organizations that protect freedom of expression and help people understand their rights and responsibilities around copyright law, there are also entities like the owners of the TCYK LLC film that are dedicated to protecting the rights of creators and content owners.

Only the original content holders have the exclusive right to the use of their work. It isn’t fair that other people commoditize from other people’s work without their consent. Copying and distributing others’ work without permission is copyright infringement, which means illegal distributors could be charged with a huge sum for damages.

Creativity is unique, and artists deserve all credits due to them. Some are too passionate about their craft that they don’t mind how their work is being used. Unfortunately, this doesn’t apply to all. Most creators need financial support to make and produce their work. Pirating does not help them in any way.

FOR IMMEDIATE RELEASE

TORONTO, CANADA, Tuesday August 05th, 2018

Canadian / Nigerian Filmmaker Pascal Atuma who is based in Toronto has won this year’s Kevin Hart’s LAUGH OUT LOUD / JUST FOR LAUGHS EAT MY SHORTS Film Competition

A total of 654 films from the USA and Canada were submitted for the short films competition, then a jury made up of Kevin Hart’s comedy outfit, Laugh Out Loud; Lions gate, and Just For Laughs team picked the best 10.

The best 10 were then put to the public to pick the top 5 through voting on Laugh Out Loud’s YouTube channel.

When the top 5 emerged from public voting, the jury then decided the winner.

According to Thai Randolph, Kevin Hart’s business operations manager, “it was a very tight race that came to the wire and they all agreed that ‘Sweet Revenge’ is the winner for the Kevin Hart’s Laugh Out Loud/Just For Laughs ‘Eat My Shorts’ 2018”.

Speaking on the creation of ‘Sweet Revenge’, Atuma said: “I wanted a multicultural story that will be funny based on situations and close to the immigrant experience. I wanted a universal story.

“My itch to make world-class movies that will be funny and at the same educative of different cultures and people inspired me.” He gives thanks to his high school (Government College Umuahia, Abia State ) teacher Mr. Nwariaku, who was his English teacher and School Debating society Supervisor for predicting this day and instilling the confidence to strive for excellence and believe in ourselves to his classmates (Class of 83) and himself. He says “I am very grateful to him and I hope he see’s this”

As the winner, ‘Sweet Revenge’ will receive exclusive distribution and the creators will get long-term deals with Hart’s Laugh Out Loud Company and a first look deal with distribution giants Lionsgate.

The short film was written and directed by Pascal Atuma while Ola George and Warren Beatty produced. Warren Beatty (CEO – AAB Talent & Management, Toronto, Canada is also the Executive Producer. Mike Gallant is the Associate Producer and Editor. It stars Naima Sundiata, Nelson Morris, Lou Israel, Bebe Obi-Okoye, Wendy German and Razie Brown-Stone. Sweet Revenge is a Diamond Pictures Inc. Production.

Pascal Atuma, the Writer and Producer of “Sweet Revenge,” is a Canadian/Nigerian actor, screenwriter, film producer, film director, and comedian.

Credts:

Baifa group and The Atuma Brothers International Company (TABIC) & Diamond Pictures Inc.

Think about the mortification and the distress of the individuals who spent years in prison, who have served their time and apparently paid their debt to the society, yet they are never given another opportunity; they are dealt with as dangerous people who are still a threat to their communities. This film review will focus on the character of Jean Valjean and his struggles to transform himself from a thief into an honest man; throughout the years he struggles to stay a step ahead of the police officer Javert and attempts to raise his adopted daughter, Cosette.

Jean Valjean was a fair man, but through the force of a desperate situation, he committed a minor crime of taking a loaf of bread to sustain his family, and was sent to the jail. Valjean arrived in the village after being in prison for nineteen years. Due to his criminal records, he struggles in finding employment, lodgings, and indeed any place in the society. Exhausted and demoralized, he discovers comfort and accommodation at the home of a Bishop. However, amid the night Valjean repays him by stealing all his silverware. He was then caught by the police, but the Bishop claims that the silverware was his gift to Valjean and that police officers should let him go, but not before making him promise to live a good life from now on. This demonstration of empathy and generosity by the Bishop caused him confusion and bewilderment. He now sees himself that he has a decision to make and that is to begin once more. Valjean then moved to the town of Montreuil-sur-mer and became a rich mayor. One day, Valjean bumped into a prostitute named Fantine and guarantees them that he’ll take care of her and her daughter, Cosette. He goes and uncovers his fortune and tries to find Cosette. And when he found her, he then brought Cosette with him in Paris. Not long after staying in Paris, they moved and lived in a convent. When they left, Valjean and Cosette lived a comfortable life. Valjean then recognizes that her adopted daughter, Cosette, had fallen in love with a boy named Marius. When he discovered how much Marius, Cosette’s admirer, adores her, Valjean immediately ran into the heart of a street rebellion to save the kid by carrying his unconscious body through the Paris sewers. When Marius and Cosette got married, Valjean uncovers his true past to Marius. His loneliness eventually killed him, but not before Marius learns the truth about Jean Valjean saving his life that night. Marius and Cosette stayed by Valjean’s side and told him they loved him until he passed away.

Symbolism is something that is woven deep within Les Misérables. The first symbol shown is when Jean Valjean finally gets out of the prison, he’s handed a “yellow ticket”, it is like a ticket to freedom. Jean Valjean is required to carry it with him at all times in order to show people that he is an ex-convict, or else he’ll be in violation of his parole and go back to jail. The major problem is that this ticket makes people turn him away wherever he goes. And that’s because the “yellow ticket” is a symbol of social rejection. As Valjean says to Bishop, “This is my ticket-of-leave – yellow, as you see. That’s why everybody turns me away.” The yellow ticket symbolizes the terrible way society treats its outcasts. It shows us that “freedom” doesn’t mean a whole lot if what it means is that you’re free to starve and die. At the end of the film, we might have forgotten about the Bishop’s candlesticks, but Jean Valjean sure hasn’t forgotten. He passed away in the light of two candles that are mounted in these candlesticks, which is considered as another symbol used in the film. These candlesticks showed exactly how modestly the Bishop is willing to live in order to give financial help to the needy people in his community. Also, these are the most prominent symbol of compassion in Les Misérables, and they shed a light that always brings love and hope. When Bishop gave Valjean his silver candlesticks, he is literally passing on this light as he tells Valjean that he must promise to become an honest man. Subsequently, the candlesticks reappear frequently to remind Valjean of his duty. When Valjean dies, the candlesticks shine brightly across his face, a symbolic affirmation that he has attained his goal of love and compassion. The appearance of the candlesticks here suggests that Jean Valjean has succeeded in keeping his promise to the Bishop and has lived a good life.

Les Misérables showed how God’s love prevails light over dark. Forgiveness, sacrifices, and persistence are indeed evident throughout the film; delivering the clear message to the viewers. Unknowingly, Les Misérables was a movie produced in the year of 2012 but it seems that it was produced only this year since it has an astounding cinematography and as well as visual effects. The events were very unpredictable and it indeed grabs the attention of the audience. Additionally, the performing artists depicted their individual characters impressively. In terms of imagery, the film utilized to show moments of rebirth and a new and positive beginning, specifically in the characters of Jean Valjean, Fantine, and Cosette. As for Jean Valjean, his major turning point as a character was shown when the Bishop gives Jean Valjean some silverware. With the grace of the bishop, he turns from the darkness toward the good of God. These candlesticks and his promise to the bishop served as guide of light on his path to redemption. Generally, the film was incredible and worth viewing.

It is always a challenge for film makers to spot the best locations for their movies. They need to present places that will perfectly bring life to their story, making their movies more alive in the big screen.

Most American film makers scout locations in famous states all over the country, especially in California where the famous “City of Angels”, Los Angeles, nestles. This city is among the top location choices for movies and television. California is also the home of the biggest film studios in the world, making it an accessible paradise for film location scouts.

Los Angeles is known for its multiple settings, from the famous Santa Monica Pier to the Santa Monica Natural Park. If you are looking for hotspots, Los Angeles also has the perfect locations that shout “glitz and glamour” (with Beverly Hills and Hollywood among the top places in the city).

To help you locate the perfect location to shoot your movie, here are a few tips for you.

1. Know the area thoroughly.

A film location scout might get a little too excited with the idea of looking for a film location in Los Angeles. Before you hunt one down, you need to be familiar with the city first. Los Angeles is a huge city to scout. There might be some places that remain undiscovered by other scouts, the same as there are those which are already overrated and are too familiar to film audiences. While you can opt for places commonly used by film makers, it is also best to avoid using it multiple times. This is to avoid looking too mediocre with the film location choices.

2. Always have a contingency traffic plan.

One of the things you need to consider in looking for the perfect film location is traffic. Pretty as your location may be, traffic can be a bum to a film crew on a tight schedule. Choose locations that are more accessible, with more routes to take to not delay the shoot because of traffic.

3. Consider the convenience of your crew.

Making a movie is a challenging feat. Imagine going through a load of preparation and driving just to get to your location, let alone set up the whole place for filming. Location scouts must consider the convenience of the whole movie crew during the entire duration of filming. Los Angeles, being the entertainment capital of the world, is abundant with filming locations that are made for long hours of shooting, with areas that can be used by staff and crew. When shooting in neighborhoods, opt for house locations that have areas the team can use. These can be for dressing and make up room for the actors and actresses and green room. Also consider a location with ample parking space to accommodate trucks carrying equipment and of course, trailers.

Los Angeles is a paradise for film location scouts. There’s a fact chance one can find the perfect location for their movie. Always remember that in choosing one, all sides must be covered and carefully considered. With these tips, scouting for film locations in Los Angeles is made even easier.

Now and then you find filmmakers who take a once popular movie and change some of its features while retaining the main plot. Remaking films are a common phenomenon in all countries and languages. Trends might be changing: technology in filmmaking has reached new heights and new stars are replacing once popular stars with their looks and acting skills. Remaking films is a “never ending magic” on the silver screen.

But, why do people say remaking a movie is the work of copycats? Why don’t people think the remaking of a movie is a creative choice? Particularly in a country like India: India is the first country in the world for remaking films from different languages and transcribing them into their mother tongue.

When filmmakers choose a blockbuster hit, their task becomes almost effortless as casting is the main action they need to take. Roles undertaken by the replacement actors are thought to be easier as they act out the emotions previously performed. Unfortunately, film critics do not consider “remakes” equal to straight films and label filmmakers as copycats. Remaking a film is challenging as makers have to bring back all the emotions shown in the original movie so as to strike a chord with audiences.

The concept of “then and now” and “here and there” takes skill, as directors have to take into account changes in the script to suit the sensibilities of their native traditions, costumes, geographical differences and dialogues. Therefore, remaking a film can be said to be more challenging than a straight or original movie. We have seen hundreds of remakes become a dud at the box-office, so it is not easy to match the expectations of audiences. It is a great belief of filmmakers they can score a hit without difficulty, but sometimes their expectations are not met.

Remaking movies and creating more emotions than in the original version can be complex. Remakes usually do not reach the same “hit level” as the original version. It is just a safe game for producers and the stars who have already become famous. Inspirations for movies often come from everyday happenings. Where movie making is concerned, either you find a new concept or an existing movie to remake.

There is no way one can predict the success of a remake and sometimes what was once a blockbuster might turn into a disaster when remade. Concepts for a movie might come from reading a book or a newspaper, or an inspiration from a real life story. Therefore, remaking involves using the basics of an existing movie and adding one or two different events. Moviegoers have to be drawn into the story and believe it is the creative choice of the film directors.

A creative mind is a low budget filmmaker’s most valuable tool. It all starts with an original thought; from there it is all about nurturing that thought until it grows to be a brilliant idea. After that it is a matter of getting that idea made into a movie using every ounce of energy and resources you can possibly muster up.

Most of the successful films that are showing at film festivals these days are movies that were made at a fraction of the cost that it takes to make a major Hollywood studio film. Advances in technology have made it so that just about anyone can make a movie. Film cameras, video cameras, sound recording equipment, and just about any other kind of equipment that one needs to make a movie can be purchased at very affordable prices these days. The equipment that is available these days can provide a very low budget movie with a production value that looks like James Cameron had something to do with the project. This professional look coupled with a unique story can help any film’s chances at being accepted into film festivals like Houston Worldfest, Cannes, Toronto Film Festival, Sundance Film Festival, etc…

Try as they might, the major Hollywood film studios will never have a monopoly on creativity. They spend millions of dollars on marketing research in an effort to figure out just what it is that the film-going audiences of the world look for when they go to the movies. Despite all of this effort, they still have not come up with a formula. The tastes of people who go to the movies are as hard to predict as an earthquake is, for the pattern changes all the time. Because of this fact, the door is left wide open for the creative types of the world to enter the game. All they need to do is come up with a unique idea that they can transform into a movie, enter their film in festivals like Sundance and then let the judges decide. While the big studios have tried to take over the film festival circuit in recent years, it is still the little guys with the small, yet creative films that are King in that realm.

It does not cost as much as you would think to make a movie that can be entered in contests like the Sundance Film Festival. Sony is about to release a line of High Definition camcorders that are perfect for anyone who wants to make movies on a shoestring budget. While movies made with these cameras will not be shot on “film” (like movies have been since the beginning), they will (almost) look like they were. These new cameras will be able to give a high quality image that is comparable to the image that film provides. The two camcorders are the PDW-F330 and the PDW-F350, and they offer all sorts of film production features that even the most film-loyal professional filmmaker must respect. Both cameras offer true 24P recording in both SD and HD, interval recording, and slow shutter recording to name a few. The F350 model also offers true variable frame rate recording capabilities which are also referred to as the “slow motion/fast motion” features. Features like these are very valuable to anyone making a low budget movie for it allows them to include motion effects in their films without the use of an expensive film camera or a high priced film lab. Both of these cameras will be on the market in March of 2006. The F350 will cost about twenty five thousand, while the F330 model will only cost about sixteen thousand dollars. A PDW-F30 deck will be available in June for about nine thousand. These are small prices to pay to be a self-sufficient independent filmmaker.

A low budget filmmaker can invest in a relatively low-cost HD camcorder and deck and have everything they need to make as many movies as their mind and body can crank out. All they will need after that is a creative mind, a few thousand dollars, a few ambitious friends for their actors and crew, some script writing software like Final Draft, and an iron resolve to make a movie. They do not have to worry about the high costs of film stock, film processing, or film-to-DVD transfers. All they will need is their camera and a $30 disc (23.3GB) and they will be set to film an entire movie. Buying discs for a camera is a lot cheaper than buying film and all the financial baggage that comes with it.

Once they shoot their movie with one of these cameras, a low budget filmmaker can go right to their computer with the disc and start editing it using one of the many affordable editing programs that are available these days such as Final Cut Pro. They can do all of the post production work for their movie on their home computer, as long as they are willing to shoulder a mother load of work responsibilities.

Technology has allowed independent filmmakers to bypass many expensive steps in the filmmaking process. Instead of paying a bunch of people hundreds of dollars an hour for film services that are only available in cities like Hollywood and New York, they can now do all of these steps in the comfort of their own home on their own computer.

For anyone who has ever had a dream of making their own movie, there is no better time than now to make it happen. The playing field has been leveled in terms of technology, but you still need a creative story to get anywhere on the film festival circuit. The affordable equipment can get you on the field, but you must bring a good game to win. A creative mind is your best player in this game, so if you have that part taken care of you are halfway to making your film vision a reality. Nurture your creative idea until it becomes a unique script and then dedicate your life to making this script into a movie. If your idea is as good as you think it is you will do quite well on the film festival circuit. If this happens it could lead to a decent distribution deal for your movie. If you stick with it and continue to make films you may even find that you have made yourself a career as a professional artist who makes independent films, and that dreams really can become reality.

Copyright 2006. Michael P. Connelly

To the novice, film and video editing sounds like one of those completely technical subjects, only possibly interesting to people with very logical and pragmatic minds, much like engineers. Visions of darkrooms and sterile-looking studios filled with all types of inexplicable mechanical equipment, where rolls of film negatives are poured over and scrutinized by serious-looking people, then diced, sliced and spliced back together, somewhat completes the overall mental picture. Clinical, stark, precise. But in actuality, film and video editing is much more than celluloid or electronic image surgery. In fact, it’s quite the opposite.

Think of it this way; someone shoots a video of your favorite cousin’s wedding. The end product is a nice, mostly continuous documentation of the event, with abrupt starts and stops here and there when the main activity changes or moves to a different area or location that necessitates a different “shot”. The end result is a compilation of pictures and sound that is considerably better and hopefully more memorable and satisfying than still photographs, but still leaves a lot to be desired.

However, if the same raw video was placed into the hands of a skilled editor, the end result would be quite different. The resulting piece would tell the story of the culmination of your cousin’s three-year romance, as narrated by several key family members. It would capture and convey to the viewing audience the couple’s wedding day emotions of love, and joy and appreciation for one another and family, anticipation of the new life the couple intends to create together, a bit of sadness for the life they are forever leaving behind, and so on. In other words, in the hands of a skilled editor, the video becomes a “story” with a beginning, middle and end; a cohesive synopsis of the couple’s romance. A day in the life…

What most people not in the film or video industry don’t realize is that film and video editing is an art form. Editing is arguably the most important element of film or video production. It is in the editing, the art of arranging pictures and dialog and sounds, that a finished film product is able to communicate a story first envisioned by its writer, and subsequently by a director and producer to its intended audience. Days, weeks even months of shots captured on film or video must be studied, interpreted analyzed and finally distilled into a story lasting a fraction of the time it took to capture it all.

People outside the film making industry have little or no idea about “post production” and the crucial part it plays in the production of a film or video work. It is because of the significant importance of this phase of film and video production that the process takes an extended amount of time to complete.

Much more that cutting and splicing pieces of cellophane together or merely arranging video sequence, editing is a wonderful blend of technical knowledge and skill combined with an artist’s creativity and craftsmanship. It is moving, adding, deleting, juxtaposing, scenes, sounds, and images to develop film shots and video clips into a certain context, create specific imagery and timing, evoke particular emotion, create specific imagery and mold them into a story.

Film editing as a craft began in the late 1890’s in the very earliest days of motion pictures. In the intervening years between then and now, anyone interested in learning about film or video editing, usually attended college courses or one of a number of reputable film schools to learn the craft.

In his book, “The Technique Of Film And Video Editing”, considered one of the best teaching and training tools for directors , Ken Dancyger highlights the history of film editing from its origins. He speaks specifically about the editing of great cinematographers such as Alfred Hitchcock and Charlie Chaplin and Buster Keaton, taking a detailed look at the fundamental principles of film and video editing. He discusses ideas, practices and styles and choices for editors in the context of theory, the history of film and video editing, and practice. He also discusses new technology and the impact it has in terms of the art of editing.

One of the greatest changes to film and video editing occurred with the introduction of computer editing. Hand cutting and splicing of film, as well as the more complicated, mechanical and “linear” process of video editing, became tedious and outdated with the advent of computer editing in the early 1990’s. Editing on computers gave rise to a whole new creativity prized by film editors, as well as lower costs and much more efficiency in terms of video editing.

Whether for film or video, the editing process occurs in three basic steps. These include capture, the editing process itself, and putting the product in a distributable form. During the capture phase, the actual “shots” or picture images are compiled into a format from which they can be edited. During the actual editing process, the collection of shots are organized in a desired sequence and sound is added through “sound mixing” until they form a comprehensive storyline. Once this has been accomplished, the film or video is finalized in the desired format whether film or high-quality video for distribution.

As technology continues to advance, the ways in which film and video are edited will continue to develop and progress. As it stands today, computers and user friend video editing software as well as the Internet have opened the doors to editing so that it is available to not only professional film and video editors. Now students of film and video and film making novices, as well as journalists, writers and the general public have unprecedented access to video editing tools. Several popular video editing programs make film and video editing possible for professionals as well as novice editors, including Avid Express Pro, Adobe Premier Pro, Sony Vegas, Final Cut Pro and Apple Final Cut Studio 2.

With today’s technology and the advantage of personal computers, digital camera equipment and the availability of knowledge from new and increasingly powerful software programs, almost anyone with the desire, can learn film and video editing, produce commercial products and even feature movies from their home or personal studio.

For many aspiring film writers, one of the most frustrating things to pinpoint is what genre Hollywood executives are looking for. Do they want action? Drama? Comedy? All three?

Perhaps. That depends on the market and screenwriter’s experiences and screenwriting specialty. But what Hollywood executives like and look for in film scripts is myth. A story’s origin can be in some long-running myth, a main character can be centered around and focused on a myth, and so on and so forth. Whatever their implementation style, myths helps sell film scripts.

The reason? Hollywood executives are charged with selling movies not only to America but the world! Myths are universally relatable, culturally transformative, and widely recognized stories that won’t get lost in translation, and that means more popularity and more profits for a film. Furthermore, a larger number of individuals will be able to find meaning in the movies with mythical elements, and this point will result in boosted long-term sales and meaning.

Adding elements of myth into an existing script isn’t all that difficult, nor is adding myth into a script as it is being crafted. However, the benefits of doing so-which may truthfully determine whether or not a script is commissioned-are remarkable. To take advantage of mythical elements when writing a script, simply read through some old stories, legends, and tales, which can be found online with a click or two. A few minutes of effort in this way will prove valuable in the long run.

Myths might not be real, but their potential boost to film scripts is very real!

What is editing?

Editing helps to put all the shots into a proper sequence so that the film comes out as a comprehensive whole unit. Editing is so important that it can actually make or break the entire film. The editor is a creative professional who works with the story, pacing, dialogue, music as well as with the performances given by the actors to craft the film into a cohesive whole.

Editing is done in the post production studios that include dubbing studios and editing studios. Post-Editing involves Color Correction as well that is actually a very important step in the complete process of film production and makes a huge difference.

Importance of editing

It gives the perfect flow to the film – A film may be amazing in all its aspects like actors, performances, scenes, songs etc. but due to various reasons, its flow often gets broken. It can be due to lack of dates of actors, any technical problem or any other such issues. A film editor is responsible for arranging the shots in an organized and smooth manner and thus for containing the intended flow. The film editor works with the producer, director, and cinematographer to achieve that perfect flow in the film. Editing studios are the perfect place to do editing as they are equipped with all the necessary tools and techniques.

It helps in switching the scenes – Transition of scenes plays a very important role in a film. The transitions have to be placed at the perfect moments to attain a proper flow and to keep up the desired pace of the film. A lack of proper transition may give you a jumpy and fast paced mess that is not liked by anyone.

Gives option of cutting – Cutting the scenes at the appropriate place is also an important task in editing. It requires a perfect timing as the cuts should be smooth and provide the ideal flow to the film. Cutting the scene too soon or too late can spoil all the hard work. Thus, timing is critical!

Sound editing and color correction – Sound editing involves adjusting the volume levels and synchronizing the video clips with the audio clips. It should be smooth and elegant as it can invoke emotions into the audience while watching the film. Dubbing is done in the dubbing studios to expel any unwanted sounds. Color correction makes your videos appealing and graceful and is very crucial for the video quality.

The role of editing is paramount in video production as it blends the sounds and images excellently and makes the audience feel emotionally connected with the film. An emotion evoking masterpiece can be created with the help of a professional video editing that is cherished by all!

As I read “How Not to Make a Short Film” I felt more and more cheated, not by the book but by my film school. Why hadn’t my instructors taught me this stuff? This is a book every film student, every filmmaker must read before writing, producing, or directing a short film. It’s a must-have resource that guides one through filmmaking’s precarious decisions and shows how to avoid the many errors in judgment that mark mediocre films. Written by Roberta Marie Monroe, an award-winning filmmaker, and former Sundance Film Festival short film programmer, Roberta brings to the table a wealth of knowledge about every phase, from conception to production to distribution.

For filmmakers, film festivals are the major outlets and they have become the judge, jury, and sometimes the executioner when it comes to evaluating the worth of a short film. By knowing what not to do you can greatly increase one’s chances of having your work being seen and appreciated. In this respect, the book walks you through the minefield of mistakes that aspiring filmmakers and seasoned pros make, so that you don’t have to make them yourself. In addition, the book features interviews with many of today’s most talented writers, producers, and directors, as well as provocative stories from Roberta’s own short film experiences.

The book is laid out in a most pragmatic fashion and follows the steps one would normally take in producing a short film. The first chapter on the script story talks about keeping it fresh and lists a multitude of storylines to avoid, storylines that have become mundane through overuse. When programmers say, “Been there, seen it,” you lose them as well as your audience. This chapter I found most fascinating as it allows us inside the programmer’s mind and the primary selection criteria, namely what’s the story and why should I watch it? This chapter also covers the script evaluation such as hiring a consultant and the pros and cons of getting feedback from friends.

Another chapter discusses film length and how it should match the story. DP Geary McLeod comments, “Every single frame has to work, it has to move the story forward. ‘Economical’ is what short filmmakers need to remind themselves.” The book goes on to point out that it’s also easier to find a slot for an 8-12-minute film versus a 28-minute opus. Meredith Kadlec adds, “Don’t fall into the trap of trying to prove how MUCH you can do, rather [show] how WELL you can do it.”

“How Not to… ” covers a wide array of filmmaking considerations, from picking a producer, knowing their duties, to budgeting, plus ways to save money and raise funds. The chapter on Crewing Up is most relevant to first-time filmmakers. It talks about the synergy of a film crew and how to guide their efforts and deal with the ever-changing dynamics. This chapter describes the key positions, people you need to consult before you shoot along with topics that need to be addressed. The chapter reiterates the need for harmonious collaboration and the fact that you cannot do it all by yourself.

All these considerations may seem daunting at first but if they are not addressed, your film suffers as a result. After reading this book, I was overwhelmed by the multitude of responsibilities. But then I remembered Roberta’s mantra that you need to have good people around you and this book provides direction on how to select your support team.

Casting is another area where the author suggests seeking assistance. She goes through the process of finding and hiring a casting director along with the reasons for doing so. One would assume that casting directors would avoid short films but many look on it as a way to provide work and exposure for their clients, especially those that have breakout potential. Advice on auditions, rehearsals and creating a safe space for your actors in also offered in this chapter. Actor Chase Gilbertson talks about how neophyte directors sometimes drift off track. “Obviously if I’m doing your film, the story was good enough in the first place but now instead of simply telling a good story, you’re trying to make a Hollywood blockbuster. Yeah, you’ve got a lot of cool toys but ultimately what is the end result? What happened to the story?”

The chapter on production discusses numerous precautions relating to the on-set experience along with creative solutions to some of these problems. One of the best was using New York Calls to outfox an innocuous business owner. Other problem areas covered include on-set etiquette and attitude, insurance and permits along with meals and craft services. What was especially important is Roberta’s advice to have a good time, be prepared, and enjoy the magical moment of being a filmmaker.

Post-production is the love/hate relationship of filmmaking. All mixed together is the footage you love followed by the worst shots, lighting, performance, and blocking of your life. Roberta repeats several times, “This is normal.” She also suggests reading Walter Murch’s book “In the Blink of an Eye” to gain some extraordinary insights into the editing process. Knowledge of how editing works is paramount to your success on set, she says, for then you’ll know which shots are most important to tell your story. The chapter also hits on how technology has made filmmaking less disciplined, i.e., shooting more footage, cutting faster, and ending up with more versions while wasting labor.

Roberta sights a MPAA report saying that only 2% of all feature-length films actually secure a theatrical or DVD release. From that one might surmise that in the short film world distribution could be even more difficult. Orly Ravid of New American Vision points out that distribution process starts before you make your film. You need a sense of who is the audience, conceive the film’s appeal in advance and have compelling marketing illustrations or photography that sells the film. Orly also advises budgeting funds for marketing and outreach. This chapter discusses numerous channels for distribution but states that your short may also have value as a TV pilot or when expanded into a feature. Orly’s priceless questionnaire “Is Your Film Distribution Ready?” covers the most problematic and overlooked areas. Academy qualification information is also covered in this chapter. Roberta makes finding short distributors easy by posting an up-to-date list of U.S. and international companies on her website.

The chapter on the Sundance Film Festival provides an illuminating background as well as effective submission strategies. The submission do’s and don’ts list by Sundance programming manager Adam Montgomery will help move you film further up the selection ladder. The section on publicity and marketing tells what you need, basically a robust website, a stellar collection of still photos and a simple business card directing people to your site. In addition, posting a trailer will greatly enhance your ranking on Google and give viewers a better glimpse of your work.

The rest of the book is allotted to sample budgets, top short filmmaker clichés, and an extensive resource guide. This guide includes listings of short friendly film festivals, short film distributors, blogs, community outreach organizations, databases, plus broadcast and online television companies.

“How Not to Make a Short Film-Secrets from a Sundance Programmer” vividly depicts the enormous task that filmmaking entails. Yet it shows how by avoiding the many pitfalls one can save time and money and create a short film that remains memorable in the minds of programmers and audiences. Well written and timely, I strongly recommend this book as an addition to every filmmaker’s resource library.