How do other filmmakers develop so much confidence in themselves?

I don't have the wisdom that comes from making a feature film, but here are a few observations:
Some people way overspend on shorts, there's a 17 min one that comes to mind which cost $90K, and it wasn't even a period or effects based story. Shorts do give you a chance to prove yourself without the cost and complexity associated with a feature, but they are difficult to market and have little chance of recouping your investment.

Some people are over ambitious with their first feature, and bite off more than they can chew; they want period costumes, special effects, epic battles, etc. You'll save a lot of time and money if you just have one shooting location and set your story in present time.

Films can be simple and be good. Here's a few examples off the top of my head that were mostly or entirely shot on one set: The Lady Vanishes (1938), Rope (1948), Rear Window (1954), 12 Angry Men (1957), and Judgment at Nuremberg (1961).
 
I don't think I'd agree with throwing in the towel if your first piece of creative output isn't brilliant...

But I absolutely agree with the idea of starting with small stakes.

Make something! Anything! Shoot some low budget shorts with friends. You'll get an idea of whether you have genuine A+ talent soon enough.

I've come to terms with the fact that I won't make a living with narrative films. I definitely don't regret the time spent making shorts, though. All they ever cost me was a few days here and there, and a few dollars for cheap props.
 
Imamacuser said:
You'll save a lot of time and money if you just have one shooting location and set your story in present time.
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I'll add one wrinkle to the traditional one location, few actors advice given to indie filmmakers. I didn't follow it on my first feature, and it ended up being an advantage for two reasons. 1) It gave the film some scope and production value by having many locations and actors, which paid of especially for the trailer. 2) I shot this film over a period of five months, and not having to return to a location and redress it, and get all the same actors together made things easier. I spent only 1-3 days on each location, and each supporting actor and once I was done, I didn't need to return. Shooting everything over one condensed period is always ideal but sometimes not possible on a micro budget, when people have other jobs and stuff.
 
Oh okay thanks. I've done the budget but it's difficult to keep it affordable. I think I will look for a producer or expert who is good at budgeting movies that can help me better on that.

As for the one location, I've tried this before on previous projects, but most location owners do not go for this. Because if you tell a location owner that you only need their location for say 8 hours, they are much more happy to go with that compared to 8 days. So I've been much better at getting locations, as long as it doesn't go over a day in past experience.

As for trying to get a production shot quickly, so far the quickest I have been able to knock out is a page per 30 minutes at the quickest on average. But I feel that this maybe hurting the performances. But at the same time, I am trying to get it shot without breaking the bank of course, and trying to get it shot quickly.

I've also asked two other filmmakers who I helped out on their features. One of them cost 80K, the other cost 50K. But maybe they are those are not the best examples for me to learn from, if I want to keep the cost much lower?
 
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Batutta said:
The biggest hurdle I had in making my first film was definitely myself. When I was alone with my thoughts before production, going over the film in my head, thinking about all the things that had to be done I would sometimes get overwhelmed. I'd start thinking about the whole thing all at once and everything that could go wrong and the anxiety started building up. Then I'd want to give up and quit. I found all that noise went away when I was finally on set, doing the work. Always remember films are made one shot at a time. Be present and focused on the one moment, the one problem, the one thing you are working on that day, that hour, that second, doing the best job you can and keep building up the individual pieces you need to tell your story.

Make your first film by any means possible, and as cheaply as possible, so the risk is low. My film cost less than an economy car and I paid for it with cash so if it never makes a profit I won't go bankrupt. The experience I got making it was invaluable. Maybe it's not Schindler's List but I'm proud of what I was able to achieve with almost no resources. I made some great new friends along the way and even had fun on occasion. My only regret is that I waited so long. Don't wait. Make your movie. You don't need anyone's approval or permission to go after your dream. And remember, films are made one shot at a time.

Here's my film. It played a couple festivals and won Best Indie Feature in one, and got picked up by a small distributor. Maybe it will inspire you. Or maybe it won't. I shot it with no crew, with a single GH4 and production gear that fit in two suitcases. If it wasn't for this pandemic I'd probably be shooting my next film.

https://tubitv.com/movies/504501/de...FAIChlW6okRO31yu6EDlFBJO9qvO-uF4k3i6YMFkcXuMQ
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I'm checking out your movie now. I'm going to PM you a couple of questions about it, if that's okay? :)
 
JimS2 said:
As for the one location, I've tried this before on previous projects, but most location owners do not go for this. Because if you tell a location owner that you only need their location for say 8 hours, they are much more happy to go with that compared to 8 days. So I've been much better at getting locations, as long as it doesn't go over a day in past experience.
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Not sure where you're located but Peerspace was a great resource for me for finding locations.
 
JimS2
it seems that you've been told a lot of things...''Some have told me this and that, others have told me the acting was bad...''
If you have no idea what went wrong in your previous projects and you need others to tell you what was good or bad, then I'm sorry to say that you probably ain't going to make it as a filmmaker.
Yes, some filmmakers went all in to make their movies and they had success with it, but the vast majority have lost big. You seem to think that there is a recipe that will guaranty success, but there is not.
You need to understand that there is a limited amount of money available for filmmakers to make their films and actually make a living out of it. If there is money for let say 1000 movies per year and there is 20 000 movies that are made, well 19 000 movies won't make it. See what I mean? Same goes for everything in life. So many cars can be sold in a given time... producing more cars than people can buy won't increase sales, even if your cars are good, so imagine if your cars are bad...This is the law of supply and demand.
 
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Oh okay, well I could tell the acting and cinematography was bad, but of course wanted other opinions as well. I can work on that for the next one.
 
Oh okay. I posted a short film in the User Films forum on here. Some of it is stock footage of course. Thanks!
 
Did you use to post here as Iron Pony once upon a time? If not, you too, nonetheless sound like you are on the spectrum.

Be that as it may, I can save you a ton of money and heartache. There is in my opinion zero chance that you’ll make it as a successful director. I’m basing this on the kind of questions you ask and how you react to advice. I’m just a voice on the internet, but I’m drawing on my experience specifically with identifying prospective talent in submissions - screenplays and films; I did this when I worked for one of the three big talent agencies years ago. In my considered opinion you don’t have the psychological makeup. Btw. it is easy to identify a bad screenplay based on the first page. Similarly, I reached my conclusion by your second and third post in this thread.

So you now have a stranger’s strong opinion. What you do with it is of course entirely up to you. Good luck!
 
JimS2 said:
Now that covid is slowing down, I thought I would try and give another try at making a feature film. I don't think I would be able to do it this year, because I need enough time for shooting where the seasons won't change from summer to winter noticeably, of course
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You are NOT a filmmaker. You don't think like a filmmaker. Don't answer with "Oh, how does a filmmaker think? Oh, but people have told me I'm a filmmaker, but some people have told me that I'm not a very good one."

Sell insurance or get into real estate. You are in terrible trouble. Just stop. Stop now.
 
I try to encourage artists, I don’t encourage “Filmmakers “ but I do encourage artists who are filmmakers. The world has plenty of filmmakers if that makes any sense and they’ll do their thing regardless. If linklater listened to common wisdom he wouldn’t have made plow by himself. Daniel Johnston wouldn’t have given the world his off kilter brilliant music. In this day and age money shouldn’t be a factor in making a film. Not a lot conscious on what makes a brilliant script, gatekeepers have one take which has a heavy dose of commercial factor built in. I don’t know what’s next for world cinema but I’m sure some amazing films will come from folks who looking objectively shouldn’t be able to tie their shoes let alone make great cinema.
 
OldCorpse said:
Btw. it is easy to identify a bad screenplay based on the first page.
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This is interesting, I researched the succes factors for starting entrepeneurs and business cases. Investors and bankers only need the first page of a business case to reject it or to put more time in it.

I think there are more similarities between screenplays and business cases in terms of feasibillity, opportunities and return on investment.
 
Oh okay thanks. Well, I feel like filmmaking is the field I want to get into and I cannot give up just because people tell me too. At least not without trying more. Is that too stubborn of me? But this is kind of what I was asking is that when others tell you don't direct a movie, or don't attempt to get into the field, how do you other filmmakers still gain a lot of confidence? Is it just a matter of changing my attitude?
 
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lambert said:
If linklater listened to common wisdom he wouldn’t have made plow by himself.
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You're absolutely right, and I wish more artists would be themselves.

At the same time, even these quirky artists prove our point, which is to gradually build upon successes. Let's take a look at Richard Linklater, in chronological order:

- "Linklater realized he wanted to be a filmmaker. He used his savings to buy a Super-8 camera, a projector, and editing equipment, and moved to Austin, Texas." Okay, so he used savings (instead of remortgaging his home) to buy some low-end equipment (Super 8).

- "Linklater founded the Austin Film Society in 1985". Okay, here he is displaying leadership in a way that most of us don't. He not only has an interest in filmmaking, but he has an aptitude for organizing people, which is important if you want to be a producer or director.

- "For several years, Linklater made many short films". Practice, practice, practice.

- In 1988, he finished his first feature, It's Impossible to Learn to Plow by Reading Books. Budget: $3,000. Shot on Super 8. Edited at a public-access television cable TV station (to save money). "... with Linklater starring and handling all production duties." (Notice it did not say, "Linklater mortgaged his home to hire better actors and a cinematographer".)

- "The film is significant in the sense that it establishes most of Linklater's preoccupations. . . . minimal camera movements and lack of narrative. . . theme of traveling with no real particular direction in mind. These idiosyncrasies would be explored in greater detail in future projects." Okay, so the movie was not successful commercially, but it was successful in helping him cement what kind of movies he wanted to do. He was already confidently making films the way he wanted to (and he wasn't stressed about losing a lot of money over it).

- Also take a look at this third-party account. Linklater mailed a copy of Plow to a filmmaker named Monte Hellman. This is what he has to say: "It might as well have been called It's Impossible to Learn to Make Movies by Reading Books. Given some natural talent or aptitude, the best way to learn to plow or make movies is by doing, and I was enormously impressed by this director’s first effort." (Notice how he did not give it a "negative" review or say, "You need to hire pro actors and a cinematographer"). Hellman said at that time he got lots of stuff from students and usually passed over it, but he watched Linklater's movie from start to finish, saying "There wasn't a false note." He says, "I don't really believe film directing can be taught, and I feel it's immoral to encourage young people to enter a field where the odds are so stacked against them. I don't encourage them unless I feel they have the talent to justify the risk. I had no hesitation about encouraging Rick Linklater." So, even after a $3,000 film, Linklater is already getting unbridled encouragement, even from older, established filmmakers. I'm sure Monte Hellman isn't the only person that told Linklater that his film was great. Linklater probably heard several people tell him, this is really good, you should do more.

- Only then did Linklater take more monetary risks and make Slacker. He maxed out credit cards and his family's money, spending $23,000 ($45,000 in today's money). But I bet at least half that was for the 16mm film stock and processing. If you watch Slacker, there are still no great actors and the cinematography is passable. With a DSLR, how much would it cost to make Slacker today?

- It went on to make $1 million, and the rest is history.

 
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William Goldman wrote about hollywood "Nobody knows anything". Don't listen to anyone telling you you got not shot at making it. There are a million different success stories in the film business and just as many ways to get there. No two paths are the same. Are the odds long? Yes. Is there an element of luck involved. Yes. Is talent a factor? Of course. There are people I went to school with who I thought for sure would make it, and didn't. And the most successful guy in my class was a thoroughly unremarkable individual. I thought his student work was average at best. Now he's directing big budget multi million dollar films. But if you feel compelled to do it, do it. Keep trying as long as you want to keep trying. You'll know when you've had enough. Remember art at the end of the day is subjective. Some people love films I think are terrible. The opinions on my own film are all over the map. Nobody knows anything. People in Hollywood thought Quentin Tarantino's first scripts were terrible. His first agent got angry, irate phone calls from people who were upset they even sent his scripts over. Those same people wanted those same scripts after QT proved himself. Keep plugging away. Just know you may not make a career of it. You have to find a way to be okay with that potential outcome. Life is short. Trying gets harder the older you get. Do you want to die knowing you didn't try everything you could?
 
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