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How To Be A Successful Actor: Become A Triple Threat

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Acting is a hard business. Don’t get me wrong, doing the actual job isn’t hard, it is a brilliant career, but the industry is a tough one and many actors remain out of work and in poverty. That is why I wrote my book, How To Be a Successful Actor: Becoming an Actorpreneur. It is possible to have a good career, get your name out there and tell the stories that you want: you just have to become one of the new triple threats.

Back in the day a triple threat was someone who could sing, dance and act. These skills will still help your career but not as much as being a new triple threat, and that is someone who acts, writes and directs. I have written a lot about this in my book and included tips and advice as I am one of the new triple threats myself and I love the freedom it gives my career. Why wait for someone else to hire you when you can write the stories you want? I have interviewed two of the most promising new triple threats in the UK today, Vanessa Bailey, a wonderful actress who’s film Three Days is going to be a corker, and Jason Croot who I have worked with many times. He is an outstandingly talented actor, writer and director. His IMDB speaks volumes about his amazing talent and I really cannot wait to see Le Fear, Le Sequel on the big screen and not just because I am in it. Read on and learn….

acting, acting advice, how to be an actor, how to be a successful actor, hollywood, castings, auditions, casting directors.

Vanessa Bailey

Tell us about your films

This is my first public foray into writing and my first stab at pulling together a short film. It’s not my film at all – it’s much more down to the talent of the other people involved that it’s as good as it is. The story concept was my idea, but the final script has been co-written by myself and Richard Perryman. It’s our script, not mine. In fact the whole film is very collaboprative – a lot of the comedy and the details in the dialogued teasers are from our director Darren and our DOP Huw. They took it by the scruff of the neck and stamped their personality on it. I love that.

So, Richard and I wrote it and I got the team together in partnership with our Executive
Producer Suzie. Suzie is responsible for encouraging me to make the film and has been part of the film from the very first moment the story popped into my head. But Gareth Gatrell our stills and behind-the-scenes guy found our Director for us! He recommended Darren after seeing the script and said he’d be perfect. He was right. One of the film’s strongest elements is the chemistry between the team. We’re like family when we work together.
You produce, write and act. What do you think of the new triple threats? Is it possible to just do one thing now?

Again, I feel very much under-qualified to comment as this is my first film and it’s not even finished yet! Acting is my first love – I come alive when I’m acting. It’s in my blood, I simply can’t imagine not doing it. I think my stories stem from the same emotional heartbeat. The production side – well, that’s pretty chaotic. Just ask any of the other Three Days team!
As far as being a triple threat – if this is the only story I ever tell that will be fine. I’d rather tell one well than a hundred badly. But I think as an actor it’s important to seek out opportunities and if you can’t find them then create them. This may well mean stepping outside of your perceived skillset and trying something new. This part was never going to come to me. I had to bring Sophie to life. No one else was writing her. And if they had I certainly wouldn’t have got to play her!

But know your limitations – surround yourself with people who are far more talented than you – people who have skills you don’t have. Use them, let them work their magic. Watch and learn from them. Having someone with amazing gifts bring them to your film is an incredible thing.

What kind of stories do you like telling?

The ones that gnaw at my heart. If they don’t stop me sleeping at night until they’re told then they’re not worth bothering with.

What made you get into the film industry?

It started with acting. I’m obsessed with acting. Completely obsessed. I have no training and was told I’d never make it. But it was chewing away at me and wouldn’t go away. So I just had to make it happen. The day I was directed by Sean Durkin on the set of Southcliffe in a dialogued scene with three named TV actors (one of whom I’d had a crush on as a teenager!) was a real moment of personal triumph. And now it’s the same with the film process generally. It beguiles me – it’s like a lover. It makes my heart skip a beat. If I’m not on set orfiddling with a script I spend my time pining to be with it again.

What do you think of the British Film industry?

Jury’s out ;) I need more time to make friends with it. I would love to see cinema rejuvenated and less films with unnecessarily massive budgets when there are filmmakers trying to get amazing projects off the ground with absolutely no funding. It’s hard. There’s a lot of untapped talent out there. And not just in the younger age bracket. Think beyond that – there are some of us who only find our feet after we’ve paddled around in the wrong puddle for a while.

Do you think it is more of a democracy now?

No, probably not.

How do people make a living in the industry?

People make a living?! I have absolutely no idea. As an actor I earn my money doing commercials and fairly undemanding stuff. The good stuff, the stuff that grows me. That all costs money – it never pays. This is a contentious issue for many very, very good reasons. Personally, I’d rather work unpaid on one fabulous project which grows me as an actor and brings joy than work for £20 a day on some awful film that means nothing and doesn’t develop me in any way. But then I do need the commercials to pay the bills!

How do people make it in the industry?

It depends how you define “make it”. We all know there are lots of people out there working regularly and you just throw your hands up and say “Why?!”

If you want to keep going, to survive, to be able to continue to chase your dream it has to come from restless passion. The need to create, the need to be with other people who create. To produce work of integrity it can’t be for the pursuit of fame (hideous) or the love of money (fat chance). And it’s too painful a process for it to be something you could actually walk away from. If you feel you can walk away from the film industry I would recommend you do. You have to be addicted to it. Or at least, that’s how it seems to me.

Favourite film

Before Sunrise

Favourite actors/directors

Tilda Swinton. Anthony Perkins (huge crush since seeing Psycho). Kate Winslet. Emma Thompson.

I’m rubbish with directors – I’ll be like “Oh I remember – I REALLY like them” later on!
What and who inspires you?

People who are unselfish to work with. People who draw you in and draw you out and help you produce your best work. People who laugh and cry and are honest. People with passion.
I absolutely love the Three Days team because I see those qualities in all the people involved. I love that our director Darren stepped out of his comfort zone to direct his first romantic film. He does it brilliantly. I love that Richard was so open to co-writing with me. Taking risks coupled with passion – now that’s a journey waiting to happen!

What’s next?

Fundraising to be able to complete the Three Days shoot. We have an ongoing crowdfund on our website. This is really key! Then the shoot, then festival entry.

And then, well – there’s more story developing in my head, but I think I need to get the short finished first! I certainly hope it won’t be the last time we all work together. Let’s just put it like that.

And probably a commercial.

 

Jason Croot

Tell us about your films.

I have made 5 feature films, all improvised, only one has been released: Le Fear, a horror comedy film which I made a sequel to named Le Fear 2: Le Sequel. This film has become my main focus because I believe it is my strongest film yet, It has a lot going for it comedy, horror, sci- fi, spoof and a very good cast. My other 3 films are all joint productions and I will tackle then one at a time then hopefully move on to my new stuff.

You direct, write and act. What do you think of the new triple threats? Is it possible to just do one thing now?

There are many talented people out there. A lot of undiscovered actors, but lets face it; as an actor having small parts on TV and feature films or lead roles on low budget feature films won’t make you an household name, only constant big roles in big budgets will do that, the same is said with writing and directing but it’s a long journey. As long as you are creating something you never know.

I believe where people fail is by not continuing to create. If you are a good actor then find some work even if it’s not a lead role in Hollywood, then you are still doing, with writing you can always do this generally with solitude and directing you can always create stuff whilst waiting for your next gig. If you believe you’ve got talent use, it don’t waste it. In a nutshell: some well known actors can carve out a career in one field and the same is said with writing and directing. Some do all plus more like Vincent Gallo, a very talented dude and there are many more like him really doing it such as Larry David and hats off to the elite 1% for the 99% the rest of us we must keep on batting and creating in the hope that one day it all clicks. If it doesn’t, so what? What would you prefer to do? Work in an office or act, write and direct? You know where I’ll be!

What kind of stories do you like telling?

I’m not really a great screen writer but believe my strengths lay in creating plots and scenes without words since all my films are improvised but that’s not the only reason I love improv, I don’t believe you can create the same magic from the script that you can from improvisation, I like to tell stories about filmmaking and the film industry like my films Le Fear 1,2 and Roberto. I know this is not the best genre to get known but I love doing it and some people like it so it’s not a lost cause

What made you get into the film industry?

My love of acting I guess, filmmaking came many years afterwards
What do you think of the British Film industry?

There is some very talented folk out there but very few can make a good living in Britain. It’s really tough but it’s not the toughest place in the world and there are a lot of people supporting others and that’s really cool. Why not? We are all trying to climb that mountain but won’t get there alone, I don’t want to get into politics but no government will really spend money in the film industry nor will they support young people trying to break into it, so it is down to people with experience to give these new guys support and guidance

Do you think it is more of a democracy now?

I believe in the past 15 years there are many more actors, writers and directors out there and everyone can make a career out of what they are doing but this won’t happen over night and there is no guarantee it will happen at all, but I believe there is less snobbery now and with the indie films becoming evermore closer to the big budget ones filmmakers can make a greater impact i.e getting there films on the same platforms, for example: Netflix, Amazon and iTunes etc. So yes, I would say it is much more democratic these days.

How do people make a living in the industry?

In England as an actor, unless you’re a regular on a soap, you may struggle but it’s possible generally people have daytime jobs and go to castings and hopefully land a few roles. The casting directors I meet are all really nice folk and want you to do well but it is difficult. You have to zone in on yourself and spend 5 hours or more a day 365 days trying to find work and have a agent batting for you as well.

How to people make it in the industry?

A lot of hard work, time, effort and energy. There are still no guarantees, but I guess it’s an individuals take on making it that can be anything, if you’d have asked me 10 years ago that I’d have acted and directed in over 100 productions I’d have said from were I was with one acting diploma and one VHS copy of a short film and not knowing anyone in London at the time: I’ve made it, but the next 10 years have to be greater so I guess, keep pushing ,never give in and keep smiling through thick and thin. Most importantly, respect rejection. the minute you make it your enemy is the minute you fail.

Favourite film

Too many to list but if I was to pick one it would be the classic French Film within a film Day For Night
Favourite actors/directors

I have a few but really rate Larry Charles and Jim Jarmusch

What and who inspires you?

Watching a great film inspires me. alongside stories I read of actors who struggled like De Niro, Pacino and Nicholson. Three of the greatest film actors all really battled to get there.

What’s next?

I’ve been under the weather for a while but hopefully on the mend now, so on the filmmaking sides of things, once my films are out of post production I have 3 more films I want to make: Le Fear 3 is one and the other 2 are top secret for now, I’m always open to direct other peoples films too, on the acting front I have 3 films by Lorenzo Raveggi filming on location in Italy, I’m looking forward to acting in and I have a few other films in the pipeline but nothing set in stone. Once again, I’m always open to offers so I’ll keep batting away and hopefully create some good cinema this year.

What do you think?

 

How To Be a Successful Actor: Becoming an Actorpreneur is out now.

Follow Catherine Balavage on Twitter: www.twitter.com/Balavage

 

 

Preview For Angelina Jolie’s New Film Unbroken

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Angelina Jolie’s second film as a director looks as brilliant as the first.

Based on Laura Hillenbrand’s 2010 best-seller Unbroken; it tells the true story of an Olympic athlete, Louis “Louie” Zamperini who survived in a raft for 47 days after a near-fatal plane crash in WWII along with two fellow crewmen.

In this preview there is narration from Tom Brokaw and some footage from the film intercut with an interview with the real-life Zamperini. Jack O’Connell stars as Zamperini and Domhnall Gleeson and Finn Wittrock as his fellow survivors. Directed by Angelina Jolie and co-written by Joel and Ethan Coen, It opens Christmas Day, 2014. We can’t wait.

Brian Yuzna Interview | Film

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Brian Yuzna , interview, horror, filmBrian Yuzna (pictured left) is one of the world’s most prolific and respected genre film-makers and on the eve of RETURN OF THE LIVING DEAD 3 receiving its network TV premiere on the Horror Channel, Yuzna gives us some insight into the making of the film, news on the SOCIETY sequel and why he thinks Horror has gone too mainstream.

RETURN OF THE LIVING DEAD 3 is broadcast on Saturday Nov 2, 10.40pm.

 

Q: Did you know from a young age that you wanted to work in the movie industry?

 

BY: No, I didn’t.  Like most kids, I loved movies; and I saw some scary ones at a young age that really disturbed me.  That gave me an interest in horror for the rest of my life.  But I never imagined that you could actually make a living making movies.  Back then there were no dvd extras and tv shows demonstrating how movies were made. While in high school I had fooled around with a friend’s 8 mm camera and we mostly shot special effects but it wasn’t until I saw Truffaut’s Day For Night that I had an idea of how a movie crew worked.  Many years later I was vacationing with my girl friend and we rode past a big encampment outside of Cartagena, Columbia and I recognized that it was a film shoot.   That evening we left our modest quarters and were eating at a restaurant on the beach when a couple of jeeps drove up with the rowdy actors etc from the shoot.  As they drank and ate and partied I realized that I was on vacation and they were on a job – but they were having more fun than I was.  That’s when I thought maybe making movies was a desirable job!  Cut to a few years later when I was working as an artist and had an art supply store.  I acquired a 16mm Bolex wind up camera and started making a short film – a short film full of fx that turned into a feature.  Although I never took a film class, I learned how to make a movie just by doing it with people who did know how.  The process fascinated me – it was exciting and satisfying.  The movie I made was pretty bad, but I was hooked.  I moved to Los Angeles to make movies.

 

Q: How did the Return Of The Living Dead III project come together?

 

BY: Joel Castelberg and Danica Minor contacted me about directing Return 3 – they said they had the rights and thought that I would be a good collaborator.  I was thrilled because I loved both Return of the Living Dead as well as Night of the Living Dead.  In order to set it apart from the plethora of zombie movies that had been made (even back then!) I decided that a zombie should be the main character.  They found a company to finance it and we began listening to pitches from potential screenwriters.  However, when the time came to formalize a deal it turns out that Joel and Danica’s agent was wrong about the rights being in their control – so it all fell apart.  Soon after I mentioned this to Mark Amin, the ceo of Trimark Pictures, and somehow he acquired the rights and offered me the job of directing and producing.  Again, the process of interviewing writers began, but this time it was Trimark who lined them up.  When I met John Penney and heard his pitch, I was immediately sold.  He was the guy.

 

Q: What did you think of the script the first time you read it?

 

BY: There never was a first time that I read the script.  John had a ‘pitch’, which was a basic ‘take’ on the movie.  His idea had to do with kids on the run, kind of a Romeo and Juliet, in a world in which the military is experimenting with the living dead as weapons.  I don’t remember exactly the details, but my obsession with having the main character be a zombie fit right into that.  The next step was for John to write a ‘treatment’ to base the screenplay on.  John and I brainstormed the ideas and John organized them into characters and a story.  Then the Trimark development folks would review it.  By the time we got to the screenplay John and I were collaborating very effectively.  John was seamlessly able to satisfy his storytelling ideas as well as mine – and Trimark’s as well.  In fact, for the only time in my moviemaking experience, I had the screenwriter (and co-producer) on the set with me throughout the shoot.  During pre-production John Penney was there to rewrite the script according to the cast, the locations that we found and the ideas that came up with the storyboard artists and fx artists.  So during the filming we were literally shooting the script.

 

Q: Was it a difficult movie to cast?

 

BY: It wasn’t a difficult movie to cast because of the support of Trimark.  I feel like they were able to access excellent options for each of the roles.  They were very involved with the casting and fortunately we seemed to be very much on the same page as them regarding the casting ideas.  Trimark had strong ideas about the casting, but never did I feel like I was obliged to accept an actor that wasn’t my choice.  They really were good to work with.  The biggest role of course was Julie – and we were all pretty blown away by Mindy Clarke.  But Trimark was most helpful, I think, with the secondary roles for which they brought in really quality talent.  It is really great that the cast, in my opinion, is uniformly good.

 

Q: How much of the budget went on special effects?

 

BY: Not that much – but working with my producing partner Gary Schmoeller (to whom is due a great deal of the credit for the success of the movie) we used an approach for producing the effects that had worked well for us in the past.  Typically fx horror films of that era would hire one fx company to produce all of the fx – the theory being that by giving them all of the fx budget they would be able to dedicate more of there time to your production.  Our approach was the opposite – with limited funds it is better to break the fx down into categories and hire various companies with different strengths.  This meant hiring an fx supervisor (Tom Rainone in this case) to find the appropriate fx artists, make the deals and supervise the work.  Paying a top fx artist for a key fx makes sense – paying the same artist to create background zombies may not be cost effective – a newer fx company might put extra effort into the effect in order to show there stuff.  Some fx artists are experts in prosthetics and others in mechanical devices.  We tried to get the most bang out of our fx budget.

 

Q: Was it a difficult shoot?

 

BY: It was a difficult shoot in that we were trying to make a bigger and better movie than we were budgeted for (we always aim higher than our budget).  But the shoot was so well organized (kudos again to Gary Schmoeller), and Trimark were so supportive, and our Director of Photography (Gerry Lively) was so tirelessly resourceful that everything went more or less according to plan.  It was very hard, exhausting work – but the whole crew seemed to be pulling in the same direction, so I really would not categorize it as a ‘difficult’ shoot.

 

Q: Why do you think the film has built up such a loyal following?

 

BY: Because it is a really good zombie movie.  I say that as someone who has made a lot of horror movies that I wouldn’t characterize as ‘really good’.  Return 3 has a good clear story and satisfying horror.  Mainly what sets it apart in my book is the love story at the center of it all.  I think it is very romantic, you really feel for Julie and sympathize with Curt’s determination to not let go of her.  I feel like it is a goth romance, a heavy metal tragedy, a young love in a corrupt world.  As a life long horror fan I think that Return 3 holds up as an example of good ‘90s horror.

 

Q: Horror Channel has also shown films from The Dentist and Re-Animator series of movies, do you think its times these characters came back?

 

BY: Yes, I do.  Corbin Bernson has tried to get the rights to do a third Dentist – he loves playing that character.  And it would be good see Jeffrey Combs get out the re-animating syringe one more time.  And I have been asked many times about a Re-Animator re-boot.  Problem is, as always, financing.  The business has changed considerably due to the digital revolution.  There just aren’t many Trimarks out there any more. 

 

Q: Have you ever been tempted to make a follow up to your astonishingly original shocker, Society?

 

BY: I am actively working on it.  Once again it is all about the financing.  My idea for a sequel is to have it take place in these super exclusive late night clubs that they have in Hollywood.  Once you get in there is always a VIP room or a VVIP room that is off limits…

 

Q: What state do you think the horror movie industry is in at the moment? A victim of its own success, perhaps? 

 

BY: Horror has become so mainstream that it seems to have mostly lost that transgressive creativity that used to make it so exhilarating. Now that Zombie movies have hit the mainstream (the modern equivalent of the ‘Western’?) they have mostly lost the element of the macabre, the disturbing sense of dead things coming wrongly to life, and are now mainly action films about disease and overpopulation.  Vampires are more romantic than horrific.  And extreme violence is the norm almost as an end in itself.  I think that we are at the end of a cycle and that a new kind of horror will grow out of the new production and distribution digital technologies.  We seem to have reached the limit of what the screenplay structure formulas (popularized especially by Syd Field) of the last decades can give us.  Whereas these ideas began as a way to identify the structure of successful movies and learn from them, they have inevitably led to a be treated as a set of rules to follow, rules that can lead to a sameness in screenplay structure that makes you feel like you know what is coming in a film from the early scenes.  The horror genre has a relatively rigorous structure and it may be time for new filmmakers to develop it into more effective directions.  One of the most interesting horror films for me recently was Cabin in the Woods.  It wasn’t very scary, but the way it deconstructed the horror tropes made me think that after that you just cannot make a teenagers in the woods movie again.  The times dictate our fears, and these times are definitely very different from the last few decades.  I am waiting for the new classics to emerge – horror with the effectiveness and artistry of Rosemary’s Baby, The Omen, The Exorcist, The Shining – and the devastating impact of Night of the Living Dead and Texas Chainsaw Massacre.

 

Q: You’re a multi talented person but are you happiest directing, producing or writing?

 

BY: I am happiest when I am giving form to something I have imagined.  It is the most exhilarating to direct – but if the director is doing stuff that surprises and delights you it is fantastic to produce.  Writing is the fun of brainstorming the original ideas.  When you produce you can stay with the movie for a long time after everyone else is gone. And with producing you can get so many more movies made.  I love collaborating and am happy to take whatever role is available as long as I feel like I am a real member of the creative and organizational team.

 

Q: So what projects are you working on at the moment?

 

I am working on the sequels we mentioned above – but also have very interesting multi platform project with John Penney called The Pope.

 

Brian Yuzna, thank you very much.

 

 

TV: Sky 319 / Virgin 149 / Freesat 138

 www.horrorchannel.co.uk | twitter.com/horror_channel

The five things filmmakers can learn from Kickstarter by Andrew Harmer

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The five things filmmakers can learn from Kickstarter (and visa-versa The five things Kickstarter creators can learn from filmmakers). By a filmmaker in the middle of a campaign!

 

Hello, I’m Andrew Harmer, the writer-director of the Fitzroy. Right up front I want to say we are currently slap bang in the thick end of a Kickstarter campaign.

 

Here’s the elevator pitch for the film.

 

The Fitzroy is a live action black comedy set in an alternative post-apocalyptic 1950’s. The world is covered in a poisons gas and the last place for a traditional seaside holiday is The Fitzroy hotel an abandoned submarine just of Margate.

 

This list isn’t necessarily the five things we have done, but it is the five things we would do (or be prepared for) if we started over again! Kickstarter, like film making is a constant learning curve and this list might well change by the end of the campaign.

 

  1. Tell the most interesting story.

You only really get one shot at a Kickstarter campaign or making a film. Sure you might do another one or another dozen but then a bus might also hit you! So you better make this one count and make it the best it can be.

 

And that means telling the best story you can.

 

A film has to be the very best ‘version’ of that story you can possibly tell. The most interesting, dramatic and honed story possible.  Nobody want’s the B plots to be more interesting than your focus so make sure you are telling the most interesting story.

 

The same goes for a Kickstarter campaign. You need to hook people into your campaign and to do that you need a great story (as well as a great product). And I don’t just mean the story you are selling, I mean the story behind the project. YOUR story. Your struggles, the adventure you have been on to get to this point. Is your idea based on a life altering brush with death? Did you witness a moment of kindness between an old man and his wife on the buss while riding the bus to work? It doesn’t matter what it is, just make sure it’s interesting and told the best way possible.

 

2) Be yourself.

Let your personality shine. I like films where I can ‘see’ the personalities of the filmmakers. I don’t always like those personalities, but I would much prefer to see an idiosyncratic film than a pixel pushing blockbuster with no heart. I truly believe a soul of a film comes from the people who make it. While it is being made it absorbs the personality and characteristics of the director (if they want it to). And I want to see that. Film is a personnel experience a conversation between the viewer and the director.

 

Same goes for Kickstarter, but to an even larger degree. The old adage ‘people invest in people’ is true. You have to put yourself out there. It’s scary but you have to share your passion, fears and hopes. Sure you might end up looking like a fool but if you don’t put yourself out there people will just turn off. But word of warning – don’t try to be something you’re not. If you’re funny be funny but if you are not don’t even try. Cool and hip? That’s fine but if you aren’t don’t force it. People can smell it, and it stinks. No bullshit. Just be yourself and people will engage with you.

 

3) Do it quick.

Okay this is straightforward. Kickstarter is on the web so you don’t have long to tell your story. Minutes, if you are lucky but seconds in reality. So you better make your page accessible, clear and your pitch video SHORT and to the point.

 

Same goes for the film (unless you’re Terrence Malick) edit, edit, edit. Cut the fat and edit that script so it’s tighter than a drum. All through the film and into post production, if it doesn’t move the story on then it goes. Don’t waste people’s time.

 

Word of warning though don’t jump the gun and rush head first in to it. With both Kickstarter and films make sure you are ready, that everything is prepared. And even if you think it is –  it probably isn’t. Do it quick but make sure you are prepared.

 

  1. Know your audience and engage with them.

Kickstarter is social, very social. It is a direct link between creators and their audience and in my humble opinion a very powerful tool. But before you start a campaign you must identify the audience you are targeting. This could be fairly obvious, your family and friends, people with ipods, hardcore gamers, Teddy Ruxpin fans. Whatever your audience you need to identify them, find them and engage with them.

 

Film-makers need to do the same thing. There’s not a one size fits all film. Everyone has different tastes and yes you can try to create a film that appeals to as many people as possible and the mass market. But I prefer films that are aimed at… well… me and my tastes. There is a distinct risk when trying to appeal to everyone that you can water down a story. Be specific and know your audience.

 

  1. Take it seriously and have respect.

Both Kickstarter and filmmaking are, at the end of the day, businesses and you are asking for people’s time and money. That is not to be taken lightly. Sure you are hopefully giving back to them in the form of entertainment or in the case of Kickstarter some sort of reward. When people give you their hard earned money you have a responsibility, a contract to deliver on your promises and work your boney ass off to make sure you do.

 

If I can tell someone has put their heart and soul in to a project or a film it means a lot to me as an audience member and it pays dividends.

 

  1. Be flexible and learn to adapt.

Just like this list! It was meant to be five and we end up with six? It’s not a problem just not what I was expecting when I started writing. It took me by surprise. Your Kickstarter project is an organic beast, it is going to change and develop as the campaign progresses. It is going to throw you some curve balls, stuff you planed will fail and other avenues and opportunities will suddenly appear. You can’t let the setbacks knock you, you just have to keep moving forward and be open to any new possibilities.

 

I can’t think off anything that is more applicable than that to film making! Be flexible and make it work.

 

 

So that’s it, that’s what I have learnt so far, and who knows what is around the corner. Hopefully we can reach our target and make an awesome film. If I heed my own advice, we just might!

 

If you would like to see how we are doing on our campaign please check it out. www.thefitzroy.com/ks any advice or support in spreading the word would be warmly welcomed.

 

 

 

109 Scenes, 14 Locations, 17 Actors.

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I am finally making a feature film. Since I got my first camera when I was 14 I reckon I am slacking a bit. We have 109 Scenes, 14 Locations and 17 actors so far. It is a mammoth task which started today. We had a brilliant days filming and got quite a few scenes.


Prose & Cons came about when Richard Wright saw me tweet that I wanted to make a film with strong female characters. He handed me a 39 page script that he had written and told me to write the rest. I did. Richard was initially the director of Prose & Cons but we had some artistic differences and he has now left, proving that people can have artistic differences and remain friends afterwards. Richard is now a brilliant comedian making his way around the London circuit.

I am now directing the film with Steve McAleavy. Steve was originally the producer and DOP but his passion made it impossible for him to not direct with me. Steve is still DOP and producer.

Just before I wrote this I worked out the schedule for the film. Sorted out what scenes were filmed, what actors were needed and what props were needed. It is using all of the skills I have acquired during my decade long career.

I also cast the film. Needless to say it is a labour of love and a passion project. I have been turning down work and putting my time and effort into this film and so has Steve. We want to make the best film possible.

We previously did a night shoot in Hayes FM with the lovely Becky Talbot. We have a great cast, the best equipment and, finger’s crossed, it should all go well.

I will keep blogging about the making of the film. In the meantime, check out the trailer below.