How to Start

Californiakid

Californiakid

Member
Hi, my name is Seung Park and I am 14 years old, and I am thinking that I might have finally found my niche in filmmaking, and now I am presented with the cosmic question: how to start?

I have tons of ideas, I will share them if you like.

Any ideas, information on how to start?
 
this website is a great place, just read and read :) start writing and getting to know people around your area who like film too - maybe think about entering the new contest comming up

glad to have you here! :)
 
I've been on this site for about 20 minutes before I joined in, this looks like an awesome place from what I've seen.

There is a contest?

:)
 
there are short contests every so often.

even if you dont enter, you can learn a ton from just watching all the shorts.

i personally thought the zombie-fest was absolutely incredible and i am looking forward to the next ones.
 
Also study up on filmaking,.. Even a little cultural film study would be good from other korean directors like; Chan-Wook Park (Oldboy), Yun Jae-yeon (Wishing Stairs), Ji-Woon Kim ( A Tale Of Two Sisters). It's always good to broaden your scope to develop your own personal movie making style.
 
Good writing is at the foundation of dramatic narrative filmmaking. Take a look at Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Van Sijll (Michael Wiese Productions, 2005), a relatively new book that covers the visualization of cinematic stories and teaches you how to write visually. Character, structure, and plot are at the core of classic screenwriting texts, this book adds the missing fourth dimension, visualization. In most of the best films, you'll find that the process of visualization starts in the process of writing. If you like to read, check out my Cinematic Storytelling Bibliography. As far as documentary goes, for verite style films, rather than writing, the foundation lies in your knowledge and relationship with the subject, on the other hand, for non-verite films, writing often plays an important role. It's great to start reading widely at a young age, it will pay off over the years. But remember, there is no substutute for shooting and writing... hands on experience is key.
 
Seung,

OCC (Orange Coast College) in Costa Mesa has some great classes and affordable too.

Chapman in Orange has a great program, but it's expensive. They do have guest lectures about once a month that are free and open to the public. I've sat in on many famous Director/DP/Actor/Producers giving Q&A. You might also want to volunteer to help out with student productions, I know there is always room for people willing to help and learn.
 
John_Hudson said:
Do you have a camera Kid ? Shoot shoot shoot.

Make film's. Ask question's. Learn. You are on the right site
Click to expand...

To compliment John's advice; edit edit edit. The best storytellers (IMHO) learn what works and what doesn't at the editing bay.

Good luck and welcome to the addiction. :)
 
I would say shoot, shoot, shoot and edit, edit, edit. Skip the writing for now. There's no reason film has to trail writing (well, technically there's one reason -- if you want to be a screenwriter, practice your writing.)

As for books, stay away from the lofty and overly intellectual film philosophy books and stick to things that emphasize production practice. If you get familiar with the practice and find your strengths and weaknesses, then applying them to any situation (story or not) will prove invaluable. Finding your personal angle, method and style is hardest -- finding a good story and applying these things to it will come naturally once you're there.

For suggested reading, grab Geuen's book "Film Production Theory" and the Rabiger book "Directing: Film Techniques and Aesthetics." Get ahold of them and give yourself time to read them at your leisure. Meanwhile just shoot a lot of stuff and experiment -- play a lot before interjecting story and actors. These two books are sort of yin/yang to one another -- Geuens emphasizes experimentation and helps break your methods out of the box, Rabiger helps to create good, consistent practices and consider the pragmatic side.

Also, read a bit of director's first-person experiences, especially directors you're drawn to. If I had to suggest books like this, they would be: Hitchcock/Truffaut, This Is Orson Welles, Godard on Godard, Jean Renoir: My Life and My Films, and some day you might find Notes On the Cinematographer from Bresson helpful. For the moment it might just prove frustrating. But the others, and in particular the first two, are just engaging long talks with great filmmakers where they reveal their reflections on the practice and all the joys and pitfalls that come from the work -- nevermind the hundreds of insights into their methods that are casually revealed.
 
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I was under the impression that to be a filmmaker, you had to be a director first and an editor second -- the writing is optional (or so say Godard, Cassavettes, Leigh, Altman and Guest, to name a few).

Sure, you can start out as a screenwriter, but it is not necessary. And sure, if you're trying to make "the next Hollywood-here-I-come indie" you're probably best off with a script for starters, but at the same time there are other kinds of films and filmmakers out there. I'm just trying to give the guy options -- think outside the box, break some norms, find his own method.

Filmmaking is principally about telling stories with images, not shooting images of stories. Find a personal visual grammar first -- that's the hardest part of the craft, finding your voice -- then go out finding stories to highlight it after.

I'm with Kubrick and Welles when they said all you need to know about filmmaking you learn in making a short film. Grab a camera, play around -- push and pull every button. Throw it on your NLE and smear it together. If you're excited by the results, then start writing or partner up with someone who does, but don't set out "to be a good writer" first when the goal is to be a film maker.

Any way, that's my advice. Take it or leave it.
 
yeah....go with the shooting.....writing will come later. You can bet steven spielberg was outside actually shooting stuff when he was a kid...rather than up in his room writing away. He Didn't even write anything until he attempted his first feature....and i doubt you'll do that right off the bat. The best way to learn....that ive found...when starting out...is just to go out and trust your insticts for where to shoot.....detailed planning, storyboards, and writing will come later.

bklyndv is right....
 
^Rainberg, what are you on about? A director "is" a filmmaker.

Anyway, I would go with shooting as well. For starters, its always good to just have a cool idea in your mind, and then shoot to see if it turned out as you imagined. Stories are a must, but not at the earliest stage. Thats like saying you need to go to art school to learn how to doodle. The guy is fourteen. Let him doodle with a camera first. It will sharpen his instinct.
 
I think that many of you are not in a position to give such advice. Are you giving advice from your own experience? Are you an accomplished director, would you say?

Notice that the advice in my post is not from me, but I am simply quoting or paraphrasing other recognized professionals.

I noticed that most of the people in DVXuser are very technically trained. After all, this is mostly a site for people who own or are interested in the camera, DVX100.

I feel that this is not the best place for giving advice to an aspiring filmmaker, especially at 14 years old. Many of you are very interested in cinematography and the technical areas of film. I mean, there's nothing cooler than being able to use the cool tools and direct at the same time! Right!?

But you must realize that there is so much more to a film than learning the "tools". I'm surprised bklyndv, because in Michael Rabinger's Directing he writes, "Don’t agonize over cinematic techniques; people who have something to say will soon figure out better ways to say it. Don’t listen to those who say you must first learn the tools before you can have something to say. Tools, not authorship, is their purview."

Ever taken a theater class, ever done character analysis? i'm sure you've read Judith Weston's Directing Actors? Then you must have realized the complexity of making a character vivid, the complexity of analyzing a character, creating backstories, the common pitfalls such as judging the character. I must say, strapping yourself to a chair and analyzing stage plays and reading "hard" books is not very fun. i'm sure that many would rather grab a camera, get some fake blood, grab some bb guns, and after that, rush to the editing room and make that awesome trailer.

But I'm so sick of seeing so many cliched characters that result from a lack of real training in the dramatic art. E.g. The Brave Policeman, The Rebellious Teenager, The Psychotic Middle-Aged Man Who Locks People Up in His House", "The Mysterious Detective".

Can't you see the difference between well-thought-out, well analyzed film and a slackoff film? Can't you see the vividness and complexity of the characters? There's a lot of work that goes into just making a film watchable.

I might go so far as to say that the director does not need to know anything about tools. What should he know? Life. Interaction. Character. Relationships. He needs to be able to bury his face in a book if he needs to.

One piece of advice: focus. Focus on what you want to do. You may have to sacrifice one thing or another. You simply do not have time in this life to be focused on two things at once. You don't see many cinematographers/directors in the professional world do you? It's because time is short. You don't want to be 40 and still be making the same movies - movies that only a few people will watch on the internet.

I know Robert Rodriguez is preaching on and on - telling people to go shoot and shoot. But how many more fast-paced films with guns, chase scenes, kidnappings, hot girls, sidekicks, and "twists" do we need?

One last piece of advice to Seung. I'll end with a quote by Rabinger, since bklyndv brought him up.

"My hope is that your experience and sensibilities will dislodge the sick preoccupation with power and violence presently dominating mass culture.
Perhaps the present emphasis on violence is a passing reaction to widespread feelings of frustration and personal insignificance. Maybe new visions and new voices can show us who we really are."
 
Guys, guys, guys!!!

He was only asking for advice!!!! even thou Rabiger's book is one of my favs!!
What about Utta Hagen, Stanislavsky, Mamet, Aristotle, Syd Field??+++++++++++

It's simple.

1, Come up with an idea/ or just something you want to shoot.
Find out how to make it...put it all together...post it here and...

2, Spend the next ten years (like the rest of us) figuring out how to shoot it better, get the story tighter, pull more from your Actors and wonder if you should have shot it in H.D.(IF S.D)

And repeat. :)

Enjoy what your doing, there are no real answers to your question it's different for every Director and their own expectations. Welcome to the club, I wish you all the best on your long exciting journey.

J.P.
 
dcho787 said:
I think that many of you are not in a position to give such advice. Are you giving advice from your own experience? Are you an accomplished director, would you say?

Notice that the advice in my post is not from me, but I am simply quoting or paraphrasing other recognized professionals.
Click to expand...
I think a lot of what you say is spot on. We're in agreement, for the most part -- though despite the quote you've provided, I see Rabiger's book as having heavy emphasis on the doing of, not the reading about, which is why I cited it primarily. Geuen's book, also -- emphasis not only on taking action but thinking more about stripping the process of filmmaking to its core and accomplishing it in new and varied ways.

Neither of them provides the magic formula for "success," especially if strict commercialism is your yardstick, but they do encourage good working practices.

At least, practices that seem consistent with the goal of making films -- making them well is another story :)
 
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1. Enjoy being 14! Your age offers something us old guys often don't have: fearlessness and boundless energy.

2. Watch lots of movies. At least occassionally write down things you liked about certain movies and why you liked them. Try to find out how the filmmakers achieved what impressed you.

3. Get ANY camera and don't worry about buying expensive stuff right now. Get a decent microphone later if you can.

4. Make a movie. Start with something under 5 minutes and involve any friends you might know who are also interested in filmmaking.

5. Go to the library and get a book or two on filmmaking. Don't be afraid to get "Filmmaking for Dummies" or something like that if you're just learning. Save the intellectual theory and the commentary by French directors for when you're a little older and/or know a little more about filmmaking.

6. Have fun always and don't worry AT ALL about making mistakes! (making mistakes is the BEST way to learn - period.)
 
Hey Seung... why do you want to be a filmmaker? what kind of ideas do you have? you know what kind of films you want to make?

WHY do you want to be a filmmaker? Is it because you have something to say? Or is it because Ang Lee won Best Director at the Oscars?

At your age, you should enjoy life as much as you can. Go camping, go date girls, go stay out late, get good grades in school (especially English Lit.), go play sports, draw pictures, read literatures, watch movies, make friends, break your parents' balls, learn to dance, play music. All these things will make you a better filmmaker in the future.

When you are at least 19 and still want to be a filmmaker and can answer all of my questions above, then you can go about learning the art and techniques of filmmaking.
 
dcho787 said:
I think that many of you are not in a position to give such advice. Are you giving advice from your own experience? Are you an accomplished director, would you say?

Notice that the advice in my post is not from me, but I am simply quoting or paraphrasing other recognized professionals.

I noticed that most of the people in DVXuser are very technically trained. After all, this is mostly a site for people who own or are interested in the camera, DVX100.

I feel that this is not the best place for giving advice to an aspiring filmmaker, especially at 14 years old. Many of you are very interested in cinematography and the technical areas of film. I mean, there's nothing cooler than being able to use the cool tools and direct at the same time! Right!?

But you must realize that there is so much more to a film than learning the "tools". I'm surprised bklyndv, because in Michael Rabinger's Directing he writes, "Don’t agonize over cinematic techniques; people who have something to say will soon figure out better ways to say it. Don’t listen to those who say you must first learn the tools before you can have something to say. Tools, not authorship, is their purview."

Ever taken a theater class, ever done character analysis? i'm sure you've read Judith Weston's Directing Actors? Then you must have realized the complexity of making a character vivid, the complexity of analyzing a character, creating backstories, the common pitfalls such as judging the character. I must say, strapping yourself to a chair and analyzing stage plays and reading "hard" books is not very fun. i'm sure that many would rather grab a camera, get some fake blood, grab some bb guns, and after that, rush to the editing room and make that awesome trailer.

But I'm so sick of seeing so many cliched characters that result from a lack of real training in the dramatic art. E.g. The Brave Policeman, The Rebellious Teenager, The Psychotic Middle-Aged Man Who Locks People Up in His House", "The Mysterious Detective".

Can't you see the difference between well-thought-out, well analyzed film and a slackoff film? Can't you see the vividness and complexity of the characters? There's a lot of work that goes into just making a film watchable.

I might go so far as to say that the director does not need to know anything about tools. What should he know? Life. Interaction. Character. Relationships. He needs to be able to bury his face in a book if he needs to.

One piece of advice: focus. Focus on what you want to do. You may have to sacrifice one thing or another. You simply do not have time in this life to be focused on two things at once. You don't see many cinematographers/directors in the professional world do you? It's because time is short. You don't want to be 40 and still be making the same movies - movies that only a few people will watch on the internet.

I know Robert Rodriguez is preaching on and on - telling people to go shoot and shoot. But how many more fast-paced films with guns, chase scenes, kidnappings, hot girls, sidekicks, and "twists" do we need?

One last piece of advice to Seung. I'll end with a quote by Rabinger, since bklyndv brought him up.

"My hope is that your experience and sensibilities will dislodge the sick preoccupation with power and violence presently dominating mass culture.
Perhaps the present emphasis on violence is a passing reaction to widespread feelings of frustration and personal insignificance. Maybe new visions and new voices can show us who we really are."
Click to expand...


I concur 100%. Come to think of it maybe I shouldn't have posted my other post.
 
chromeboy007 said:
Go camping, go date girls, go stay out late, get good grades in school
Click to expand...


Go camping: I go camping at least 3 times a year.

Date Girls: I currently am in the process of hooking one.

Stay out Late: bedtime: 9:00. actual bedtime: 11:00.

Good Grades: all A, one B


Thanks for all the advice, and yes Ang Lee is an awesome filmmaker.

To whoever said to take classes at the OCC, I am exploring that idea.

Basically, I discovered 'Casablanca' three years ago and I haven't been the same since. Here is an idea that I'm tossing around to make into a movie to submit at a local contest:

A few vertically challenged teenage boys obsessed with soccer takes on high school soccer team. Teenage boys win (of course). I am considering it to be around 30 minutes in all, with character development (11 x 2 boys, plus extras misc. characters) and, of course, a girl.

Lots more ideas, don't have patience or time to list them all.
 
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