How do I get started? (Directing)

O

opasepu

New member
Hi,

I'm going to graduate from high school soon, and I'm really interested in directing.
So, my question is - How do I get started? Should I just buy the equipment/books and start shooting something?
Well, I was thinking about attending the NYFA, but it turns out they're pretty shi--y. Then there's the LAFS, but I don't have spare $40,000. That's about it.. every other school I checked out didn't accept total newbies.

Oh, and please don't tell me how shi--y the industry is, and how I shouldn't be getting into this. I've already figured everything out. I'll get a part-time job, and in my free time I'll direct.

So yeah.. any info is appreciated. :)

Have a great New Year & thanks!:beer:
 
The best way is to make something, music video, short, feature.. (well maybe not just yet :) )...Get hold of some equipment and get shooting then keep a diary! Its not a quick answer just a real one. Best of luck.
J.P.
 
1. GET LIFE EXPERIENCE
See the world, get out of your comfort zone, go to new places, meet different people, stretch yourself and your ideas, expand what you can draw on when understanding a character or story. This will also teach you to listen. Filmmakers do a lot of talking, telling their story, providing their point of view, pushing an agenda, and many forget the step of listening first.

2. WRITE YOUR BUSINESS PLAN
If you want to be in the film business, whether director, actor, writer, DOP, you have to think of yourself as a business. Sit down and work out a plan, with achievable goals (achievable, not something like I want to win an Oscar by the time I'm 30, but something like, by the end of 2009 I want to have been involved in 2 or 3 short films). You also need to work out what you need to market yourself, what training and experience you require. Once you know what your goals are, then work out how you are going to achieve them. Set yourself a timeline and work towards it.

3. NETWORK, NETWORK AND NETWORK SOME MORE
You don't need to spend your money on equipment. As a director *you* wont need it. Start networking with other would-be film makers who have interests in other areas and already have equipment. Film-making is a collaboration effort, and you can't do it on your own, it is a team effort. So start finding people of like mind. Most cities have a film society, start going and checking out the flicks and make friends. Also never under-estimate the networking ability of Facebook. I have made several of my most successful contacts through Facebook and they know more people, who know more people etc. Another huge should do is take an acting class. Not only will this teach you the tool bag of those who want to direct, it also is an amazing way to make contacts. Several of my other contacts came from a couple of films (including the films made by those who did get into filmschool). However, if the contact through acting is the route you want to go, you need something to offer them other than "I just want to direct". You either need to be an amazing actor or have written something that they are interested in. If you don't have these things to offer, you can always offer your time as a grunt and work your way up.

4. LEARN YOUR TRADE
Go to the library and find books on directing, on story, on scriptwriting. Read them. Then watch movies and *see* how what you have read has been applied. Watch the special edition dvds that comes with movies and see behind the scenes. If you can, find a mentor. Someone who might let you AD on their shorts or be a second unit director. If you haven't written it or are not funding it, don't expect anyone to let you direct it when starting out.


5. BUILD YOUR BODY OF WORK
Directors need showreels. You are highly unlikely to get paid work without a qualification, and even then you still need a kick-arse showreel. However, if the showreel is super kick-arse you may be able to skip the qualification part. Building a body of work doesn't mean just picking up a camera and shooting (although this is useful for learning purposes), it is about quality, not quantity. Get a good script, or write it, and work that script so that it is the most compelling little story that you know and then make it as best as you can within your budget.

6. EARN FUNDS TO FINANCE YOUR DESIRE
Movies, even no-budget films, cost money, even if it's just for DVD's to burn to, and once the quality, of both story and technique, increases you'll want to enter these into festivals. To enter into festivals you will need to pay entry fees, sometimes create publicity packs, and have properly constructed contracts/releases from all involved. All these things cost $$$, even if you do have your own equipment and everyone has done all the jobs for free.

7. REMEMBER THE STORY OF THE TURTLE AND THE HARE
If you are going to do something, do it well, don't do it half-assed, take the time to do it properly. Understand these stories of overnight success and celebrity are crap.

8. LEARN HOW TO TALK TO PEOPLE
There is a way to talk to people to get what you want, and there is a way to talk to people that will put their backs up and they wont want to help you. I know the stereotypes can be annoying but you have to learn to play the game of understanding other personality types and tastes that are different to yours (in other words other character types) - otherwise how can you be a director if you don't understand other characters? Statements like "I've already figured everything out. I'll get a part-time job, and in my free time I'll direct" imply that you have already know everything, and everything is so easy, so why bother to ask? While it is good to be confident, make sure it doesn't come across as cocky or arrogant, that is not the was to do business if you are in it for the long term.

Hope that helps. :)
 
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I sent you a PM.

Yeddi said:
2. WRITE YOUR BUSINESS PLAN
If you want to be in the film business, whether director, actor, writer, DOP, you have to think of yourself as a business. Sit down and work out a plan, with achievable goals (achievable, not something like I want to win an Oscar by the time I'm 30, but something like, by the end of 2009 I want to have been involved in 2 or 3 short films). You also need to work out what you need to market yourself, what training and experience you require. Once you know what your goals are, then work out how you are going to achieve them. Set yourself a timeline and work towards it.
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Wow. Yes, this is so easy to bypass but it's very important. Write it all down, purpose, budgets and the whole thing. Look at it frequently. Mark off the things you accomplish.

-Nate
 
9. Never become complacent. This is very easy to do after you finish up a film (at least for me). If ever you aren't planning out a new project or working hard on something film related, start a new project. Great directors don't become great directors by sitting around and letting things come to them.
 
Drew Ott said:
9. Never become complacent. This is very easy to do after you finish up a film (at least for me). If ever you aren't planning out a new project or working hard on something film related, start a new project. Great directors don't become great directors by sitting around and letting things come to them.
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Bingo! Thanks. I was just thinking this myself a few nights ago.

-Nate
 
I've always got something going on. Started writing my second feature as I finished editing the first. I'd agree with most everything Yeddi said. I do recomend learning to do everything yourself though. One, it's fun, and two, if you ever do collaborate and bring in other people, you'll have a better idea of how to communicate with them. Just like taking the acting classes to communicate with actors.

Also, never underestimate craigslist.com
I found the great niece of Rita Hayworth who now produces with me and stars in my films, as well as found an actor at the last moment when one dropped out.
 
10. Read the great or classic books on directing and film theory. For example: Hitchcock / Truffaut -- link

Yes, I know, directing can really only be learned through experience. I totally agree. But, there are a lot of no-brainer common sense things that you can learn, as well as the basics of film theory, through the great books on filmmaking. If you love film then these will be enjoyable reads anyways so why not? Of course, for this to be worthwhile you need to get out and put these methods and theories to work or experiment with them.

Also, even the busiest directors can't be shooting a film all of the 365 days of a year. During your free time, instead of reading that paperback romance novel with Fabio on the cover, read a filmmaking book. Also, forums like this and others have tons of good info as well.
 
Don't be an @$$. The pool is smaller than you may think. Your reputation will follow you and shut doors faster than they open. Being an arrogant, bullying, know-it-all, jerk will severely limit your opportunities and access to crews and clients. Crews (except for the disparate and stupid) will not return your calls and tell their friends to avoid you at all cost. Clients (most) do not treat their employees in such a manner and will not do business with companies (you) that do. With power, come responsibility.
 
Sean Smith said:
Don't be an @$$. The pool is smaller than you may think. Your reputation will follow you and shut doors faster than they open. Being an arrogant, bullying, know-it-all, jerk will severely limit your opportunities and access to crews and clients.
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Had a friend who didn't do so well on a set one time. There were reasons behind it but basically he created a very bad first impression. One day a big production came to town. He went up for it but the camera man had been on set that day and he basically told the producer not to hire my friend.

I had a cinematographer who screwed me over. The person was indeed a good photographer but they were also very mercenary as people in the creative industry could be. This person was up for an interview. I didn't do anything but I had the power to shut this person out. It was in some way because when this person walked in and saw me the look of confusion on their face was almost comical, but I kept my cool. The producer and I indeed had spoken about this but we went on. So don't be an @$$ is solid advice. Don't be a push over but certainly don't be a jerk. As stated you'll be surprised who you'll keep meeting over and over.

And if you can't pay feed the cast and crew. (If you can pay feed them anyway). You have no idea how much this helps matters. And finish productions. If you get the rep for not completing projects it doesn't help things at all.

-Nate
 
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Nathyn said:
And if you can't pay feed the cast and crew. (If you can pay feed them anyway). You have no idea how much this helps matters. And finish productions. If you get the rep for not completing projects it doesn't help things at all.

-Nate
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Isn't it sort of an unwritten rule that for low to no budget indie projects you have to at the very least feed, caffeinate (be careful of too much), and provide a finished DVD for your actors and crew.

At least, I've always operated by that one.

Maybe we as independent filmmakers need a 10 Commandments of low budget production?
 
Commandment #1: Fake it till you make it. Show your cast, crew and that kid working at the mall kiosk that you are a big time movie director. If you can't afford a budget or even White Castle burgers, you can at least let everyone know that a major motion picture is in progress.

It's the brown paper bag that shields the cheap beer can label of the micro cinema world:

http://tinyurl.com/8c6uyfhttp://tinyurl.com/7yvmml
 
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